Pub Date : 2023-06-06DOI: 10.1080/03612112.2023.2206742
Melissa Gamble
In Cultural Appropriation in Fashion and Entertainment, Yuniya Kawamura and Jung-Whan Marc de Jong provide the most comprehensive survey to date of the underlying theories and analyses of cultural appropriation. De Jong contributes analysis of the entertainment industry in Chapter 4 while Kawamura addresses academic studies, the fashion industry, and globalization in the remainder of the book. This ambitious work strives to compile, organize, and analyze scholarly work, numerous examples, and social and technological influences on culture and cultural appropriation in fashion, music, and television as they have evolved throughout the twentieth and early twenty-first centuries. In the first two chapters, Kawamura introduces readers to schools of cultural theory and prevalent scholars, such as Pierre Bourdieu, Thorstein Veblen, and Georg Simmel, who drove fashion and cultural studies in the late nineteenth and twentieth centuries. The reader gains an understanding of the western framework within which the fashion and entertainment industries developed. The author then provides an overview of research on cultural appropriation and analysis by prominent figures in the field, including legal scholar Susan Scafidi and cultural theorist James O. Young. This book serves as an excellent resource for anyone seeking to gain a more comprehensive perspective on theories and frameworks with which to understand cultural appropriation in both scholarly and public discourse. The complex and multipronged analysis in Chapters 3 and 4 benefits from photographic examples of appropriated styles and cultures. In Chapter 3, Kawamura utilizes the conceptual typology framework to organize and analyze cultural appropriation within the fashion industry. Numerous examples, both historic and current, make clear the industry’s propensity to commoditize cultures of the world. The author draws on the notion of biological, cultural, and sartorial hierarchies to show how western and non-western cultures have
{"title":"Cultural Appropriation in Fashion and Entertainment","authors":"Melissa Gamble","doi":"10.1080/03612112.2023.2206742","DOIUrl":"https://doi.org/10.1080/03612112.2023.2206742","url":null,"abstract":"In Cultural Appropriation in Fashion and Entertainment, Yuniya Kawamura and Jung-Whan Marc de Jong provide the most comprehensive survey to date of the underlying theories and analyses of cultural appropriation. De Jong contributes analysis of the entertainment industry in Chapter 4 while Kawamura addresses academic studies, the fashion industry, and globalization in the remainder of the book. This ambitious work strives to compile, organize, and analyze scholarly work, numerous examples, and social and technological influences on culture and cultural appropriation in fashion, music, and television as they have evolved throughout the twentieth and early twenty-first centuries. In the first two chapters, Kawamura introduces readers to schools of cultural theory and prevalent scholars, such as Pierre Bourdieu, Thorstein Veblen, and Georg Simmel, who drove fashion and cultural studies in the late nineteenth and twentieth centuries. The reader gains an understanding of the western framework within which the fashion and entertainment industries developed. The author then provides an overview of research on cultural appropriation and analysis by prominent figures in the field, including legal scholar Susan Scafidi and cultural theorist James O. Young. This book serves as an excellent resource for anyone seeking to gain a more comprehensive perspective on theories and frameworks with which to understand cultural appropriation in both scholarly and public discourse. The complex and multipronged analysis in Chapters 3 and 4 benefits from photographic examples of appropriated styles and cultures. In Chapter 3, Kawamura utilizes the conceptual typology framework to organize and analyze cultural appropriation within the fashion industry. Numerous examples, both historic and current, make clear the industry’s propensity to commoditize cultures of the world. The author draws on the notion of biological, cultural, and sartorial hierarchies to show how western and non-western cultures have","PeriodicalId":42364,"journal":{"name":"Dress-The Journal of the Costume Society of America","volume":"49 1","pages":"187 - 189"},"PeriodicalIF":0.4,"publicationDate":"2023-06-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41795664","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 : 2023-05-25DOI: 10.1080/03612112.2023.2206721
M. Porsella
When Alice Claypoole Vanderbilt (1845–1934) appeared in the Electric Light Dress, commissioned from the House of Worth for her family’s legendary 1883 fancy-dress ball, she not only displayed her wealth but also signaled her modernity. While members of more established families came in historical costumes that confirmed their status by drawing comparisons with European aristocracy, Vanderbilt, whose family often had been derided as “new money,” used her costume to align herself with the innovative and exciting new technology of electric light. This paper explores the cultural context of Vanderbilt’s dress in relation to publicity campaigns for electric light and the Statue of Liberty in the late 1870s and early 1880s. In donning such a dress at this high-profile event, Alice Claypoole Vanderbilt intimated that she, and by extension her family, was the future of New York society.
{"title":"Electric Lady Liberty","authors":"M. Porsella","doi":"10.1080/03612112.2023.2206721","DOIUrl":"https://doi.org/10.1080/03612112.2023.2206721","url":null,"abstract":"When Alice Claypoole Vanderbilt (1845–1934) appeared in the Electric Light Dress, commissioned from the House of Worth for her family’s legendary 1883 fancy-dress ball, she not only displayed her wealth but also signaled her modernity. While members of more established families came in historical costumes that confirmed their status by drawing comparisons with European aristocracy, Vanderbilt, whose family often had been derided as “new money,” used her costume to align herself with the innovative and exciting new technology of electric light. This paper explores the cultural context of Vanderbilt’s dress in relation to publicity campaigns for electric light and the Statue of Liberty in the late 1870s and early 1880s. In donning such a dress at this high-profile event, Alice Claypoole Vanderbilt intimated that she, and by extension her family, was the future of New York society.","PeriodicalId":42364,"journal":{"name":"Dress-The Journal of the Costume Society of America","volume":"49 1","pages":"107 - 118"},"PeriodicalIF":0.4,"publicationDate":"2023-05-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47287851","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 : 2023-05-23DOI: 10.1080/03612112.2023.2206743
Isabella Rosner
{"title":"Threads of Power: Lace from the Textilmuseum St. Gallen","authors":"Isabella Rosner","doi":"10.1080/03612112.2023.2206743","DOIUrl":"https://doi.org/10.1080/03612112.2023.2206743","url":null,"abstract":"","PeriodicalId":42364,"journal":{"name":"Dress-The Journal of the Costume Society of America","volume":"49 1","pages":"179 - 181"},"PeriodicalIF":0.4,"publicationDate":"2023-05-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42246941","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 : 2023-05-19DOI: 10.1080/03612112.2023.2206744
Jennifer Saxton-Rodríguez
In their book The Typical Tudor: Reconstructing Everyday 16th Century Dress, Jane Malcolm-Davies and Ninya Mikhaila make an argument for how workingand middle-class people dressed during the Tudor era in England. They support it with a variety of evidence: wills, legal documents, archeological finds, portraits, extant garments, and many other sources. This book is a follow-up and elaboration upon The Tudor Tailor: Reconstructing Sixteenth-Century Dress (2006). It starts with an introduction that explains the groups of people the authors consider “typical,” which defines the scope of the book. Malcolm-Davies and Mikhaila offer visual and written evidence in support of their stance and, using this as a starting point, begin the book by describing how ordinary people purchased or otherwise acquired yardage and clothing. The next chapters are a detailed exploration of fabrics and colors used by “the typical Tudor.” Augmenting this chapter is a table with the names of colors and fabrics commonly used with supporting documentary evidence and descriptions of how each fabric was used in the construction of garments. It concludes with a page of pie charts detailing how color was used by the ordinary English person of the sixteenth century. The following chapter details construction techniques (hand stitches, fabric buttons, knitting and fulling instructions, methods for pleats, etc.) and includes detailed photographs of extant tools and garments from the sixteenth century, diagrams, and color photographs. Most of the rest of the book focuses on a variety of construction techniques for specific sixteenth-century garments and data about them. Possibly the most exciting of these sections describes in detail the cut, composition, and construction of a previously undiscovered
{"title":"The Typical Tudor: Reconstructing Everyday 16th Century Dress","authors":"Jennifer Saxton-Rodríguez","doi":"10.1080/03612112.2023.2206744","DOIUrl":"https://doi.org/10.1080/03612112.2023.2206744","url":null,"abstract":"In their book The Typical Tudor: Reconstructing Everyday 16th Century Dress, Jane Malcolm-Davies and Ninya Mikhaila make an argument for how workingand middle-class people dressed during the Tudor era in England. They support it with a variety of evidence: wills, legal documents, archeological finds, portraits, extant garments, and many other sources. This book is a follow-up and elaboration upon The Tudor Tailor: Reconstructing Sixteenth-Century Dress (2006). It starts with an introduction that explains the groups of people the authors consider “typical,” which defines the scope of the book. Malcolm-Davies and Mikhaila offer visual and written evidence in support of their stance and, using this as a starting point, begin the book by describing how ordinary people purchased or otherwise acquired yardage and clothing. The next chapters are a detailed exploration of fabrics and colors used by “the typical Tudor.” Augmenting this chapter is a table with the names of colors and fabrics commonly used with supporting documentary evidence and descriptions of how each fabric was used in the construction of garments. It concludes with a page of pie charts detailing how color was used by the ordinary English person of the sixteenth century. The following chapter details construction techniques (hand stitches, fabric buttons, knitting and fulling instructions, methods for pleats, etc.) and includes detailed photographs of extant tools and garments from the sixteenth century, diagrams, and color photographs. Most of the rest of the book focuses on a variety of construction techniques for specific sixteenth-century garments and data about them. Possibly the most exciting of these sections describes in detail the cut, composition, and construction of a previously undiscovered","PeriodicalId":42364,"journal":{"name":"Dress-The Journal of the Costume Society of America","volume":"49 1","pages":"175 - 177"},"PeriodicalIF":0.4,"publicationDate":"2023-05-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45882268","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 : 2023-01-02DOI: 10.1080/03612112.2023.2169312
Ann Marguerite Tartsinis
Upon entering San Francisco’s Legion of Honor Museum, visitors were confronted with French Impressionist Auguste Rodin’s figural sculpture The Age of Bronze (L’Age d’Airain, ca. 1875), gifted to the museum by its founder, philanthropist Alma de Bretteville Spreckels. Installed in the central rotunda of the beaux-arts-inspired building, the naturalism of Rodin’s nineteenth-century nude male stood in stark contrast to the gleaming neo-baroque ensembles by contemporary Chinese couturi ere Guo Pei that faced the famed bronze statue from the museum’s permanent galleries at left and right. More like wearable sculptures than couture garments, Guo’s creations from the 2006 “Samsara” and 2019 “Elysium” collections invited comparison with the historical artworks that surrounded each design, while announcing the spectacular reverie of contemporary fashion that awaited the visitor within the museum (FIGURE 1). Curated by Jill D’Alessandro, Fine Arts Museum of San Francisco Curator in Charge of Costume and Textile Arts, Guo Pei: Couture Fantasy was an insistent demonstration of the designer’s innovative historicism, sartorial ambition, and technical skill. On the upper floor, a discrete selection of Guo’s ensembles pierced the customary displays of the permanent collection. Thereafter, on the floor below, an assortment of her most imaginative designs was installed across the temporary exhibition galleries. Without paying the additional entrance fee for the lowerlevel presentation, an endeavoring visitor could measure the opulent gilt vegetal scrolls, appliqu e flowers, and branchlike protrusions of the “Elysium” dress against the simple clothing depicted in Georges de La Tour’s “Old Man” and
一进入旧金山荣誉军团博物馆，游客们就看到了法国印象派画家奥古斯特·罗丹的人物雕塑《青铜时代》(L 'Age d 'Airain，约1875年)，这是博物馆的创始人、慈善家阿尔玛·德·布雷特维尔·斯普雷切尔斯赠送给博物馆的。罗丹(Rodin) 19世纪裸体男性的自然主义作品被安置在这座受beaux艺术启发的建筑的中央圆形大厅里，与中国当代女装设计师郭培(Guo Pei)的新巴洛克风格作品形成鲜明对比，后者正对着博物馆永久展厅里著名的青铜雕像。郭的2006年“轮回”和2019年“极乐空间”系列的作品更像是可穿戴的雕塑，而不是高级定制服装，它让人们将其与围绕每件设计的历史艺术品进行比较，同时宣布了博物馆内等待参观者的当代时尚的壮观幻想(图1)。由旧金山美术博物馆服装和纺织艺术策展人吉尔·达历山德罗(Jill D 'Alessandro)策划:《时装幻想》是设计师创新的历史主义、缝制野心和技术技能的持续展示。在楼上，郭先生精心挑选的服装穿透了惯常的永久藏品展示。此后，在下一层，她最具想象力的各种设计被安装在临时展览画廊中。在不支付较低层次展示的额外入场费的情况下，一位努力的参观者可以将“极乐空间”服装的华丽镀金植物卷轴、贴花和树枝状突起与乔治·德·拉图尔(Georges de La Tour)的《老人》(Old Man)中描绘的简单服装进行对比
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Pub Date : 2023-01-02DOI: 10.1080/03612112.2022.2158627
Dyese L. Matthews, Kelly L. Reddy-Best
Activists often have used dress to express solidarity with Black resistance movements such as the US Civil Rights Movement of the 1950s and 1960s. In our research, we built upon our own and previous scholars’ work by analyzing the intersections of activism, identity, and dress in a specific space, place, and context: twenty-first-century Black women college students during the Black Lives Matter movement from 2013 to 2019 who were attending land-grant, predominately white institutions in Iowa. We explored these women’s everyday “fashion activism” through analysis of objects, photographs, and stories. We found that dress practices historically used by Black women activists are being revived and repurposed in the twenty-first century at the height of the Black Lives Matter movement era. These women shared that they knowingly wore these styles to emulate both their own and previous Black women’s dress practices.
{"title":"Garments, Accessories, and Stories","authors":"Dyese L. Matthews, Kelly L. Reddy-Best","doi":"10.1080/03612112.2022.2158627","DOIUrl":"https://doi.org/10.1080/03612112.2022.2158627","url":null,"abstract":"Activists often have used dress to express solidarity with Black resistance movements such as the US Civil Rights Movement of the 1950s and 1960s. In our research, we built upon our own and previous scholars’ work by analyzing the intersections of activism, identity, and dress in a specific space, place, and context: twenty-first-century Black women college students during the Black Lives Matter movement from 2013 to 2019 who were attending land-grant, predominately white institutions in Iowa. We explored these women’s everyday “fashion activism” through analysis of objects, photographs, and stories. We found that dress practices historically used by Black women activists are being revived and repurposed in the twenty-first century at the height of the Black Lives Matter movement era. These women shared that they knowingly wore these styles to emulate both their own and previous Black women’s dress practices.","PeriodicalId":42364,"journal":{"name":"Dress-The Journal of the Costume Society of America","volume":"49 1","pages":"17 - 36"},"PeriodicalIF":0.4,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45340564","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 : 2023-01-02DOI: 10.1080/03612112.2023.2165330
R. Matheson
Phelps Associates, a business operated by the husband-and-wife design team of William Drown Phelps (1890–1962) and Elizabeth Heintges Phelps (1909–87) from 1940 until 1969, was critically acclaimed for creating accessories and sportswear that embodied American ideals from patriotism to practicality. The Phelpses’ accessories designs celebrated handcraft traditions in the making of leather goods, while both their accessories and sportswear designs emphasized long-term investment in quality goods. This research focused on the output of the Phelpses’ two postwar workshops located in Pennsylvania and North Carolina to consider how they expanded their small, critically acclaimed leather-goods workshop to produce ready-to-wear sportswear and how clients used their products. Phelpses’ designs, particularly those attributed to Elizabeth, served a consumer base of primarily middle- and upper-class white women in navigating gender roles during the exigencies of war and in the postwar period.
{"title":"Stella Blum Grant Report","authors":"R. Matheson","doi":"10.1080/03612112.2023.2165330","DOIUrl":"https://doi.org/10.1080/03612112.2023.2165330","url":null,"abstract":"Phelps Associates, a business operated by the husband-and-wife design team of William Drown Phelps (1890–1962) and Elizabeth Heintges Phelps (1909–87) from 1940 until 1969, was critically acclaimed for creating accessories and sportswear that embodied American ideals from patriotism to practicality. The Phelpses’ accessories designs celebrated handcraft traditions in the making of leather goods, while both their accessories and sportswear designs emphasized long-term investment in quality goods. This research focused on the output of the Phelpses’ two postwar workshops located in Pennsylvania and North Carolina to consider how they expanded their small, critically acclaimed leather-goods workshop to produce ready-to-wear sportswear and how clients used their products. Phelpses’ designs, particularly those attributed to Elizabeth, served a consumer base of primarily middle- and upper-class white women in navigating gender roles during the exigencies of war and in the postwar period.","PeriodicalId":42364,"journal":{"name":"Dress-The Journal of the Costume Society of America","volume":"49 1","pages":"37 - 53"},"PeriodicalIF":0.4,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46698620","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 : 2023-01-02DOI: 10.1080/03612112.2023.2182989
I. Mida
{"title":"Letter from the Editor","authors":"I. Mida","doi":"10.1080/03612112.2023.2182989","DOIUrl":"https://doi.org/10.1080/03612112.2023.2182989","url":null,"abstract":"","PeriodicalId":42364,"journal":{"name":"Dress-The Journal of the Costume Society of America","volume":"49 1","pages":"i - iii"},"PeriodicalIF":0.4,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47595831","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 : 2023-01-02DOI: 10.1080/03612112.2023.2184973
I. Mida, P. Slinkard
{"title":"Call for Papers: Reframing Fashion in the Museum","authors":"I. Mida, P. Slinkard","doi":"10.1080/03612112.2023.2184973","DOIUrl":"https://doi.org/10.1080/03612112.2023.2184973","url":null,"abstract":"","PeriodicalId":42364,"journal":{"name":"Dress-The Journal of the Costume Society of America","volume":"49 1","pages":"105 - 106"},"PeriodicalIF":0.4,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48529122","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 : 2023-01-02DOI: 10.1080/03612112.2022.2158602
Elise Yvonne Morin-Rousseau
{"title":"Conservation Concerns in Fashion Collections: Caring for Problematic Twentieth-Century Textiles, Apparel, and Accessories","authors":"Elise Yvonne Morin-Rousseau","doi":"10.1080/03612112.2022.2158602","DOIUrl":"https://doi.org/10.1080/03612112.2022.2158602","url":null,"abstract":"","PeriodicalId":42364,"journal":{"name":"Dress-The Journal of the Costume Society of America","volume":"49 1","pages":"103 - 104"},"PeriodicalIF":0.4,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45944791","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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