Pub Date : 2023-11-09DOI: 10.1080/03612112.2023.2267340
Emily Mayagoitia
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Pub Date : 2023-11-06DOI: 10.1080/03612112.2023.2261794
Adam MacPhàrlain, Kelly L. Reddy-Best, Petra Slinkard, Leon Wiebers
AbstractThe 2023 CSA Scholars’ Roundtable focused on the role of collaboration within teaching, learning, costume design, and museum practice. The scholars reflected on the challenges, successes, opportunities, and failures encountered when engaging in collaboration. This report is based on an edited and condensed transcript of the authors’ panel presentation and summarizes the audience’s comments and discussion.Keywords: critical thinkingfashioninterdisciplinaryhistorical societiesmuseumstheaterqueer Notes1 Kelly L. Reddy-Best and Dana Goodin, “QueerCrip Fashion in the Twenty-First Century: Sky Cubacub and the QueerCrip Dress Reform Movement,” Clothing Cultures 5, no. 3 (2018): 333–57, https://doi.org/10.1386/cc.5.3.333_1. See also Aison Kafer, Feminist Queer Crip (Bloomington: Indiana University Press, 2013).2 Kelly L. Reddy-Best and Eric D. Olson, “Trans Traveling and Embodied Practices: Panopticism, Agency, Dress, and Gendered Surveillance,” Annals of Tourism 85 (2020), https://doi.org/10.1016/j.annals.2020.103028; Eric D. Olson and Kelly L. Reddy-Best, “‘Pre-Topsurgery, the Body Scanning Machine Would Most Likely Error.’ Transgender and Gender Nonconforming Travel and Tourism Experiences,” Tourism Management 70 (2019): 250–61, https://doi.org/10.1016/j.tourman.2018.08.024; Kelly L. Reddy-Best and Eric D. Olson, “Packers, Diolaters, and the Options for Either Male or Female: Navigating Movement of Transgender and Gender Non-Conforming Bodies, Appearances and Luggage Through Airport Security,” Fashion, Style, and Popular Culture 7, no. 2–3 (2020): 223–46, https://doi.org/10.1386/fspc_00016_1.3 Michel Foucault, Discipline and Punish: The Birth of the Prison (New York: Pantheon Books, 1977).4 Vishakha Chauhan, Kelly L. Reddy-Best, Mahim Sagar, Arbuda Sharma, and Karan Lamba, “Apparel Consumption and Embodied Experiences of Gay Men and Transgender Women in India: Variety and Ambivalence, Fit Issues, LGBT-Fashion Brands, and Affordability,” Journal of Homosexuality 68, no. 9 (2021): 1444–70, https://doi.org/10.1080/00918369.2019.1698914.5 Kelly L. Reddy-Best and Eunji Choi, “‘Male Hair Cannot Extend Below Plane of the Shoulder’ and ‘No Cross Dressing.’ Critical Queer Analysis of High School Dress Codes in the United States,” Journal of Homosexuality 67, no. 9 (2020): 1290–1340, https://doi.org/10.1080/00918369.2019.1585730.6 Dashka Slater, “The Fire on the 57 Bus in Oakland,” New York Times, January 29, 2015.7 Nancy Gebhart and Kelly L. Reddy-Best, “Slogan T-shirts: Liberalism, Abolition, and Commodity Activism in the Midwestern United States,” Critical Studies in Fashion and Beauty 13, no. 2 (2022): 255–77, https://doi.org/10.1386/csfb_00048_1.8 Devon W. Carbado, “Colorblind Intersectionality,” Signs: Journal of Women and Culture in Society 38, no. 4 (2013): 811–45; Roopali Mukherjee and Sarah Banet-Weiser, Commodity Activism: Cultural Resistance in Neoliberal Times (New York: New York University Press, 2012); Chela Sandoval and Guisela Latorre,
摘要2023年CSA学者圆桌会议聚焦于合作在教学、学习、服装设计和博物馆实践中的作用。学者们对合作中遇到的挑战、成功、机遇和失败进行了反思。本报告基于作者小组发言的编辑和浓缩文本，并总结了听众的评论和讨论。关键词:批判性思维，时尚，跨学科，历史学会，博物馆，剧院，酷儿注释1 Kelly L. Reddy-Best, Dana Goodin，“21世纪的酷儿潮人时尚:Sky Cubacub和酷儿潮人服饰改革运动”，《服装文化》第5期。3 (2018): 333 - 57, https://doi.org/10.1386/cc.5.3.333_1。参见艾森·卡弗，女权主义酷儿瘸子(布卢明顿:印第安纳大学出版社，2013)Kelly L. Reddy-Best和Eric D. Olson，“跨性别旅行和具体化实践:全景、代理、服装和性别监视”，《旅游年鉴》85 (2020)，https://doi.org/10.1016/j.annals.2020.103028;Eric D. Olson和Kelly L. Reddy-Best，“手术前，身体扫描仪最有可能出错。”“跨性别与非性别认同的旅游体验”，《旅游管理》，2019年第70期:250-61,https://doi.org/10.1016/j.tourman.2018.08.024;Kelly L. Reddy-Best和Eric D. Olson，“包装工、外交官和男性或女性的选择:通过机场安检的跨性别和性别不一致的身体、外表和行李的引导运动”，《时尚、风格和流行文化》第7期。3 .米歇尔·福柯:《纪律与惩罚:监狱的诞生》(纽约:万神殿图书公司，1977)Vishakha Chauhan, Kelly L. Reddy-Best, Mahim Sagar, Arbuda Sharma, Karan Lamba，《印度同性恋男性和变性女性的服装消费和体现体验:多样性和矛盾心理、合身问题、lgbt时尚品牌和可负担性》，《同性恋杂志》，第68期。Kelly L. Reddy-Best和Eunji Choi，““男性头发不能延伸到肩平面以下”和“不允许变装”，(2021):1444-70,https://doi.org/10.1080/00918369.2019.1698914.5《美国高中着装规范的批判性酷儿分析》，《同性恋杂志》67期。张晓明，“美国中西部地区的自由主义、废奴主义与商品激进主义”，《时尚与美学批判研究》，第13期，no. 29, https://doi.org/10.1080/00918369.2019.1585730.6张晓明，张晓明，《中国文化与社会发展》，《中国文化与社会》第3期。4 (2013): 811-45;Roopali Mukherjee和Sarah Banet-Weiser，《商品行动主义:新自由主义时代的文化抵抗》(纽约:纽约大学出版社，2012);Chela Sandoval和Guisela Latorre，“Chicana/o Artivism: Judy Baca与有色人种青年的数字作品”，收录于《学习种族与民族:青年与数字媒体》，Anna Everett主编(剑桥:麻省理工学院出版社，2008)，81-108.9 Courtney Johnson, Kelly L. Reddy-Best和Eulanda Sanders，“像我们一样昂首昂首:黑人千禧一代对20世纪80年代和90年代城市时尚品牌的认知、知识和影响”，《服装与纺织品研究杂志》第40期。11 .理查德·德尔加多、吉恩·斯蒂范西克:《批判种族理论导论》(纽约:纽约大学出版社，2012)Eunji Choi和Kelly L. Reddy-Best，《韩国时尚媒体:审视2013年至2017年间的美丽理想、种族和白人的突出性》，载于《c<s:1> ci杂志》，《国际服装与时尚杂志》第21期。张丽娟，“肤色歧视、社会地位与社会不平等”，《社会科学》第1期。1 (2007): 237-54, https://doi.org/10.1111/j.1751-9020.2007.00006.x.13本次展览于2021年1月以虚拟形式发起。见“通往骄傲之门”，密苏里历史学会，2021年1月，https://gtp.mhs.yourcultureconnect.com/e/home.14官方吉尼斯世界纪录的头衔属于沃尔特·科尔，艺名达塞尔十五世，他于2023年3月去世，享年92岁，有56年的变装表演生涯。Chaney比Cole早出生两岁，据说她的职业生涯开始于20世纪50年代末，但由于没有文件证明这一说法，Chaney并没有被认为是最年长的变装表演者我的展示展示了来自各种来源的照片，包括人体模型公司的目录和其他博物馆的展览。 摘要2023年CSA学者圆桌会议聚焦于合作在教学、学习、服装设计和博物馆实践中的作用。学者们对合作中遇到的挑战、成功、机遇和失败进行了反思。本报告基于作者小组发言的编辑和浓缩文本，并总结了听众的评论和讨论。关键词:批判性思维，时尚，跨学科，历史学会，博物馆，剧院，酷儿注释1 Kelly L. Reddy-Best, Dana Goodin，“21世纪的酷儿潮人时尚:Sky Cubacub和酷儿潮人服饰改革运动”，《服装文化》第5期。3 (2018): 333 - 57, https://doi.org/10.1386/cc.5.3.333_1。参见艾森·卡弗，女权主义酷儿瘸子(布卢明顿:印第安纳大学出版社，2013)Kelly L. Reddy-Best和Eric D. Olson，“跨性别旅行和具体化实践:全景、代理、服装和性别监视”，《旅游年鉴》85 (2020)，https://doi.org/10.1016/j.annals.2020.103028;Eric D. Olson和Kelly L. Reddy-Best，“手术前，身体扫描仪最有可能出错。”“跨性别与非性别认同的旅游体验”，《旅游管理》，2019年第70期:250-61,https://doi.org/10.1016/j.tourman.2018.08.024;Kelly L. Reddy-Best和Eric D. Olson，“包装工、外交官和男性或女性的选择:通过机场安检的跨性别和性别不一致的身体、外表和行李的引导运动”，《时尚、风格和流行文化》第7期。3 .米歇尔·福柯:《纪律与惩罚:监狱的诞生》(纽约:万神殿图书公司，1977)Vishakha Chauhan, Kelly L. Reddy-Best, Mahim Sagar, Arbuda Sharma, Karan Lamba，《印度同性恋男性和变性女性的服装消费和体现体验:多样性和矛盾心理、合身问题、lgbt时尚品牌和可负担性》，《同性恋杂志》，第68期。Kelly L. Reddy-Best和Eunji Choi，““男性头发不能延伸到肩平面以下”和“不允许变装”，(2021):1444-70,https://doi.org/10.1080/00918369.2019.1698914.5《美
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Pub Date : 2023-07-03DOI: 10.1080/03612112.2023.2224076
Mary Farley
Over the last half-century, hip hop has cemented itself as one of most influential cultural movements globally. Its origins can be traced to Cindy and Clive Campbell’s (aka DJ Kool Herc) legendary back-to-school party held on August 11, 1973, in their Bronx apartment building. From this singular event, hip hop became a global phenomenon with style being one of its most significant and enduring manifestations. With Fresh, Fly, and Fabulous: 50 Years of Hip Hop Style, The Museum at FIT presented a sweeping retrospective using over 150 objects sourced from fifty lenders that examined hip hop’s relationship with fashion over the last half-century. Co-curated by Elizabeth Way, Associate Curator, and Elena Romero, Assistant Professor of Advertising and Marketing Communications, the exhibition Fresh, Fly, and Fabulous: 50 Years of Hip Hop Style addressed how hallmarks of aspiration, inventiveness, and individualization within hip hop style pushed sartorial boundaries and infused itself within mainstream culture. In an interview with the New York Times, Romero observed: “Fashion is the original sixth element of hip hop . . . . Aspirations become a reality through what we wear. From nameplates to chains, it’s a way of being seen, and wearing the right clothes is a way to announce yourself to the world.” Upon descending the staircase to the Museum at FIT’s main galleries, visitors encountered a large image of Kool K and DJ Lee Rock posed in front of a busy merchandise display (Figure 1). In this photo, Kool K and Rock are wearing clothing typically associated with hip hop style’s earliest iterations with Lee jeans, gold name-plate jewelry, and newsboy caps. Upon first glance this introductory image seemed to be a visual portal to a bygone New York, but Jamel Shabazz photographed the image in 2019 for the denim brand Lee’s Spring/Summer 2019 campaign. This visual flattening of time between hip hop’s aesthetic origins and its current interpretations presented a strong entry point for viewers, emphasizing the style’s sartorial longevity as well as its roots in New York City. Fresh, Fly, and Fabulous was split between two primary gallery spaces and was organized thematically rather than chronologically. The smaller, front 1 Elena Romero and Elizabeth Way, “Fresh, Fly, and Fabulous: 50 Years of Hip Hop Style.” https://www.fitnyc. edu/museum/exhibitions/hip-hopstyle.php.
在过去的半个世纪里，嘻哈已经成为全球最具影响力的文化运动之一。它的起源可以追溯到1973年8月11日，辛迪和克莱夫·坎贝尔(又名DJ库尔·赫奇)在布朗克斯的公寓大楼里举办的传奇返校派对。从这个独特的事件开始，嘻哈成为一种全球现象，风格是其最重要和最持久的表现之一。FIT博物馆以Fresh, Fly, Fabulous: 50年的嘻哈风格为主题，展示了一场全面的回顾展，使用了来自50个出借人的150多件物品，审视了过去半个世纪嘻哈与时尚的关系。此次展览由副策展人Elizabeth Way和广告与营销传播助理教授Elena Romero共同策划，展示了Hip - Hop风格中渴望、创造力和个性化的标志如何推动了服装的界限，并将自己融入主流文化。在接受《纽约时报》采访时，罗梅罗说:“时尚是嘻哈最初的第六大元素. . . .愿望通过我们的穿着变成了现实。从名牌到连锁店，这是一种被看到的方式，穿着合适的衣服是向世界宣布自己的一种方式。”沿着楼梯走到FIT主展厅的博物馆，游客们看到了一张Kool K和DJ Lee Rock在一个繁忙的商品陈列前摆姿势的大图(图1)。在这张照片中，Kool K和Rock穿着典型的嘻哈风格早期的服装，搭配Lee牛仔裤，金色名牌珠宝，戴着报摊帽。乍一看，这张介绍性的照片似乎是通往过去纽约的视觉门户，但贾梅尔·沙巴兹(Jamel Shabazz)在2019年为牛仔品牌Lee的2019春夏活动拍摄了这张照片。这种将嘻哈美学起源和当下诠释之间的时间在视觉上扁平化的方式，为观众提供了一个强有力的切入点，强调了这种风格的服装寿命，以及它在纽约的根源。Fresh, Fly, and Fabulous被分成两个主要的画廊空间，并按主题而不是按时间顺序组织。较小的，前面1埃琳娜·罗梅罗和伊丽莎白·韦，“新鲜，飞，和神话:50年的嘻哈风格。”“https://www.fitnyc。edu/museum/exhibitions/hip-hopstyle.php。
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Pub Date : 2023-07-03DOI: 10.1080/03612112.2023.2223001
Emily Mushaben
The Japan Society’s exhibition Refashioning: CFGNY and Wataru Tominaga challenged visitors to think beyond their preconceptions of how contemporary art exhibitions are presented and to explore the nuances of identity. Curated by Tiffany Lambert in collaboration with the artist collective Concept Foreign Garments New York (CFGNY) and designer Wataru Tominaga, the aim of the exhibition was to present “two emerging fashion labels that engage with the intersections between fashion, art, and identity.” CFGNY is a New Yorkbased artist collective founded in 2016 by artists Tin Nguyen and Daniel Chew and expanded with the addition of Kirsten Kilponen and Ten Izu in 2020. Wataru Tominaga is a Tokyo-based fashion designer who founded his eponymous brand in 2019. Curated as two individual yet symbiotic gallery spaces—one dedicated to CFGNY and the other to Wataru Tominaga, a long hallway bridged the two galleries so viewers could seamlessly flow from one room to the next. This subtle transition aided in promoting the audience’s appreciation of how the work of these artists were separate but connected in exploring identity through fashion and contemporary art. Visitors could begin touring Refashioning in either gallery space, but the exhibition’s main didactics were displayed immediately outside the gallery containing the work of CFGNY. These introductory text panels introduced the curatorial thesis of Refashioning: “As individual creators, their practices share a sensibility to obscure boundaries between art and design, high and low, and global and local, representing a new approach. Through this pairing, Refashioning suggests that fashion is always in formation.” Both CFGNY and Tominaga collaborated with the curator to develop the exhibition design for the designers’ respective gallery spaces—Tominaga also worked with the design studio Chen Chen & Kai Williams. This process created unique environments that were playful but intentional and seamlessly enhanced the presentation of the work. Provocatively positioned just inside the CFGNY gallery were two unusual mannequins (Figure 1). Artfully constructed from cardboard and both malepresenting with large arm muscles and broad chests, one mannequin was 1 Japan Society, “Gallery.” https:// japansociety.org/gallery/refashioning-exhibition/.
{"title":"Refashioning: CFGNY and Wataru Tominaga","authors":"Emily Mushaben","doi":"10.1080/03612112.2023.2223001","DOIUrl":"https://doi.org/10.1080/03612112.2023.2223001","url":null,"abstract":"The Japan Society’s exhibition Refashioning: CFGNY and Wataru Tominaga challenged visitors to think beyond their preconceptions of how contemporary art exhibitions are presented and to explore the nuances of identity. Curated by Tiffany Lambert in collaboration with the artist collective Concept Foreign Garments New York (CFGNY) and designer Wataru Tominaga, the aim of the exhibition was to present “two emerging fashion labels that engage with the intersections between fashion, art, and identity.” CFGNY is a New Yorkbased artist collective founded in 2016 by artists Tin Nguyen and Daniel Chew and expanded with the addition of Kirsten Kilponen and Ten Izu in 2020. Wataru Tominaga is a Tokyo-based fashion designer who founded his eponymous brand in 2019. Curated as two individual yet symbiotic gallery spaces—one dedicated to CFGNY and the other to Wataru Tominaga, a long hallway bridged the two galleries so viewers could seamlessly flow from one room to the next. This subtle transition aided in promoting the audience’s appreciation of how the work of these artists were separate but connected in exploring identity through fashion and contemporary art. Visitors could begin touring Refashioning in either gallery space, but the exhibition’s main didactics were displayed immediately outside the gallery containing the work of CFGNY. These introductory text panels introduced the curatorial thesis of Refashioning: “As individual creators, their practices share a sensibility to obscure boundaries between art and design, high and low, and global and local, representing a new approach. Through this pairing, Refashioning suggests that fashion is always in formation.” Both CFGNY and Tominaga collaborated with the curator to develop the exhibition design for the designers’ respective gallery spaces—Tominaga also worked with the design studio Chen Chen & Kai Williams. This process created unique environments that were playful but intentional and seamlessly enhanced the presentation of the work. Provocatively positioned just inside the CFGNY gallery were two unusual mannequins (Figure 1). Artfully constructed from cardboard and both malepresenting with large arm muscles and broad chests, one mannequin was 1 Japan Society, “Gallery.” https:// japansociety.org/gallery/refashioning-exhibition/.","PeriodicalId":42364,"journal":{"name":"Dress-The Journal of the Costume Society of America","volume":"49 1","pages":"169 - 174"},"PeriodicalIF":0.4,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42946191","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}
Pub Date : 2023-07-03DOI: 10.1080/03612112.2023.2226969
J. Parsons, Sara B. Marcketti
The process of “knocking off” the work of others has been an integral practice of the United States ready-to-wear industry since the 1890s. In the 1930s, the Fashion Originators Guild of America (FOGA) created an internal system to protect its members’ design work, but in 1941 this system was declared in restraint of trade, and the next best protection option laid in the US design patent system. This research examines the 4,523 dress patents issued in the United States between 1936 and 1942, focusing on the designers and/or manufacturers represented and the process and timing of patent applications. Analysis of select court cases of design patent infringement, including a case study of a patent for “The Perfect Dress” by leading FOGA member and ready-to-wear dress manufacturer Samuel Zahn, demonstrates the difficulty of protecting a patented dress design and the complicated nature of what constituted an original design.
{"title":"The “Perfect Dress”","authors":"J. Parsons, Sara B. Marcketti","doi":"10.1080/03612112.2023.2226969","DOIUrl":"https://doi.org/10.1080/03612112.2023.2226969","url":null,"abstract":"The process of “knocking off” the work of others has been an integral practice of the United States ready-to-wear industry since the 1890s. In the 1930s, the Fashion Originators Guild of America (FOGA) created an internal system to protect its members’ design work, but in 1941 this system was declared in restraint of trade, and the next best protection option laid in the US design patent system. This research examines the 4,523 dress patents issued in the United States between 1936 and 1942, focusing on the designers and/or manufacturers represented and the process and timing of patent applications. Analysis of select court cases of design patent infringement, including a case study of a patent for “The Perfect Dress” by leading FOGA member and ready-to-wear dress manufacturer Samuel Zahn, demonstrates the difficulty of protecting a patented dress design and the complicated nature of what constituted an original design.","PeriodicalId":42364,"journal":{"name":"Dress-The Journal of the Costume Society of America","volume":"49 1","pages":"119 - 135"},"PeriodicalIF":0.4,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42711002","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}
Pub Date : 2023-07-03DOI: 10.1080/03612112.2023.2233849
Susan L. Hannel
{"title":"Costume Society of America Fellow 2023","authors":"Susan L. Hannel","doi":"10.1080/03612112.2023.2233849","DOIUrl":"https://doi.org/10.1080/03612112.2023.2233849","url":null,"abstract":"","PeriodicalId":42364,"journal":{"name":"Dress-The Journal of the Costume Society of America","volume":"49 1","pages":"191 - 192"},"PeriodicalIF":0.4,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44451545","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}
Pub Date : 2023-07-03DOI: 10.1080/03612112.2023.2229660
Margaret O’Neil
Seventeenth-century knitted-silk waistcoats have mystified dress historians for years since little is known about how these intricately patterned knitted garments were worn or used. This paper documents the examination and research of a seventeenth-century woman’s knitted-silk waistcoat from the Burrell Collection, Glasgow Museums, Scotland. This waistcoat, acquired by the museum in 1937, is knit in silk yarns and illustrates the impressive craftsmanship of seventeenth-century knitting techniques. In documenting the close study of this seventeenth-century waistcoat, this research report shows that this garment was significantly altered for sale prior to the acquisition into the Burrell Collection and serves to contribute to knowledge of early modern knitting techniques.
{"title":"Knit in Gold: An Examination of a Seventeenth-Century Knitted Waistcoat","authors":"Margaret O’Neil","doi":"10.1080/03612112.2023.2229660","DOIUrl":"https://doi.org/10.1080/03612112.2023.2229660","url":null,"abstract":"Seventeenth-century knitted-silk waistcoats have mystified dress historians for years since little is known about how these intricately patterned knitted garments were worn or used. This paper documents the examination and research of a seventeenth-century woman’s knitted-silk waistcoat from the Burrell Collection, Glasgow Museums, Scotland. This waistcoat, acquired by the museum in 1937, is knit in silk yarns and illustrates the impressive craftsmanship of seventeenth-century knitting techniques. In documenting the close study of this seventeenth-century waistcoat, this research report shows that this garment was significantly altered for sale prior to the acquisition into the Burrell Collection and serves to contribute to knowledge of early modern knitting techniques.","PeriodicalId":42364,"journal":{"name":"Dress-The Journal of the Costume Society of America","volume":"49 1","pages":"137 - 148"},"PeriodicalIF":0.4,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45728548","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}
Pub Date : 2023-07-03DOI: 10.1080/03612112.2023.2227496
Sarah Casey
This visual essay presents drawings related to a research project that sought to develop a visual language that communicates the precarity of clothing items that have emerged from alpine glaciers in Europe. These artworks achieve a poetic effect that recalls the tensions and challenges of preserving these artifacts of glacial archaeology. This essay focuses on selected drawings of footwear from the exhibition Emergency! at Drawing Projects UK (November 10, 2022–February 4, 2023) and articulates how drawing was used as a form of touching to imaginatively translate the experience of encountering these items of footwear into artworks. The artworks offer an example of how artistic engagement with museum collections can generate a creative response to traces of the past and invite reflection on the future of our planet.
{"title":"Melting Memories: Footwear Drawn out of Ice","authors":"Sarah Casey","doi":"10.1080/03612112.2023.2227496","DOIUrl":"https://doi.org/10.1080/03612112.2023.2227496","url":null,"abstract":"This visual essay presents drawings related to a research project that sought to develop a visual language that communicates the precarity of clothing items that have emerged from alpine glaciers in Europe. These artworks achieve a poetic effect that recalls the tensions and challenges of preserving these artifacts of glacial archaeology. This essay focuses on selected drawings of footwear from the exhibition Emergency! at Drawing Projects UK (November 10, 2022–February 4, 2023) and articulates how drawing was used as a form of touching to imaginatively translate the experience of encountering these items of footwear into artworks. The artworks offer an example of how artistic engagement with museum collections can generate a creative response to traces of the past and invite reflection on the future of our planet.","PeriodicalId":42364,"journal":{"name":"Dress-The Journal of the Costume Society of America","volume":"49 1","pages":"149 - 155"},"PeriodicalIF":0.4,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45339539","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}
Pub Date : 2023-06-20DOI: 10.1080/03612112.2023.2216567
Sara Wilcox
Silk has a long and illustrious history as one of the world’s most luxurious fibers. Two recent books explore the story of silk from the development of sericulture in China to the modern era and the ways in which new ideas and technologies traveled the Silk Road alongside coveted silk textiles. Anthony Burton’s Silk: The Thread that Tied the World offers a good broad overview of the silk trade for those looking to understand its general history. Burton is a British historian who more recently has served as an advisor for textile and industrial documentaries for the BBC, including writing and presenting The Rise of King Cotton. Burton’s text reads like the narrative of a documentary, and illustrations on nearly every page provide excellent visuals of everything from silkworms to maps to the weaving process and finished textiles. Burton’s focus is on the role of silk as a catalyst for the spread of new ideas and the development of new technologies. His intent is to explain how “this remarkable substance produced by a rather boring looking moth had a central role in the development of so many aspects of our lives” (8). In Chapter 1, “Bombyx Mori,” Burton describes how silk thread is
丝绸作为世界上最奢华的纤维之一，有着悠久而辉煌的历史。最近的两本书探讨了从中国蚕业发展到现代的丝绸故事，以及新思想和技术与令人垂涎的丝绸纺织品一起走过丝绸之路的方式。安东尼·伯顿（Anthony Burton）的《丝绸：绑住世界的线》（Silk:The Thread that Tied The World）为那些想了解丝绸贸易简史的人提供了一个很好的丝绸贸易概览。伯顿是一位英国历史学家，最近曾担任英国广播公司纺织和工业纪录片的顾问，包括撰写和介绍《棉花王的崛起》。伯顿的文本读起来像纪录片的叙事，几乎每一页的插图都提供了从蚕到地图再到编织过程和成品纺织品的出色视觉效果。伯顿的重点是丝绸作为新思想传播和新技术发展的催化剂的作用。他的意图是解释“这种由一只看起来很无聊的飞蛾产生的非凡物质是如何在我们生活的许多方面的发展中发挥核心作用的”（8）。在第一章“家蚕”中，伯顿描述了丝线是如何
{"title":"Silk: The Thread that Tied the World; Byzantine Silk on the Silk Roads: Journeys Between East and West, Past and Present","authors":"Sara Wilcox","doi":"10.1080/03612112.2023.2216567","DOIUrl":"https://doi.org/10.1080/03612112.2023.2216567","url":null,"abstract":"Silk has a long and illustrious history as one of the world’s most luxurious fibers. Two recent books explore the story of silk from the development of sericulture in China to the modern era and the ways in which new ideas and technologies traveled the Silk Road alongside coveted silk textiles. Anthony Burton’s Silk: The Thread that Tied the World offers a good broad overview of the silk trade for those looking to understand its general history. Burton is a British historian who more recently has served as an advisor for textile and industrial documentaries for the BBC, including writing and presenting The Rise of King Cotton. Burton’s text reads like the narrative of a documentary, and illustrations on nearly every page provide excellent visuals of everything from silkworms to maps to the weaving process and finished textiles. Burton’s focus is on the role of silk as a catalyst for the spread of new ideas and the development of new technologies. His intent is to explain how “this remarkable substance produced by a rather boring looking moth had a central role in the development of so many aspects of our lives” (8). In Chapter 1, “Bombyx Mori,” Burton describes how silk thread is","PeriodicalId":42364,"journal":{"name":"Dress-The Journal of the Costume Society of America","volume":"49 1","pages":"183 - 186"},"PeriodicalIF":0.4,"publicationDate":"2023-06-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48380245","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}
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