Pub Date : 2023-01-02DOI: 10.1080/03612112.2023.2170098
L. Welters, Abby Lillethun, L. Whitley
The 2022 CSA Scholars’ Roundtable considered the teaching of fashion history in an era of globalization, increased awareness of social justice, and amplified understanding of the effects of colonization. This report documents the authors’ panel presentation and summarizes the audience’s comments and discussion.
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Pub Date : 2022-12-13DOI: 10.1080/03612112.2022.2152979
Jordon G. Masters
Earth Logic Fashion Research Action Plan by Kate Fletcher and Mathilda Tham presents an alternative way of researching, buying, and governing sustainable fashion. Fletcher, professor at the Center for Sustainable Fashion, University of the Arts London, UK, and Tham, professor in design at Linnaeus University, Sweden, propose a new paradigm that rejects the fashion industry’s current dependency on growth. The idea to publish Earth Logic was a response to a 2018 report by the Intergovernmental Panel on Climate Change that stated that humans had only a decade to change their actions to avert catastrophic climate change. In the Earth Logic plan, Earth is placed first before everything else, including and especially profit. Earth Logic is a brief, seventy-three page, open-source book (available from earthlogic.info). It begins with an introduction that provides valuable context to the following sections and serves as a helpful glossary to some terms the authors employ. The introduction is followed by three main sections: part 1, “Values-Explicit Context”; part 2, “Earth Logic Research Implications”; and part 3, “Holistic Earth Logic Landscapes for Fashion Action Research.” Part 1 describes eight core values of the Earth Logic research plan. They include multiple centers, interdependency, diverse ways of knowing, co-creation, action research, grounded imagination, care of world, and care of self. The values are linked. Multiple centers involve acknowledging everything that has a stake on Earth, including non-human species, nature, users, community, and non-western perspectives. By bringing in other centers, researchers can begin to see how all things, ideas, and relationships are interdependent and how diverse ways of thinking can evolve from this interdependency. Cocreation with a diverse set of knowledge brings in new skills, ideas, and actions. Once one has considered the interrelation of these values, action research begins. This type of research involves the steps of exploration, practice, and
Kate Fletcher和Mathilda Tham的Earth Logic时尚研究行动计划提供了一种研究、购买和管理可持续时尚的替代方式。英国伦敦艺术大学可持续时尚中心教授Fletcher和瑞典林奈大学设计教授Tham提出了一种新的范式，摒弃了时尚行业目前对增长的依赖。出版《地球逻辑》的想法是对政府间气候变化专门委员会2018年的一份报告的回应，该报告指出，人类只有十年的时间来改变行动，以避免灾难性的气候变化。在地球逻辑计划中，地球被置于一切事物之前，包括利润，尤其是利润。《地球逻辑》是一本长达七十三页的开源书籍（可从earthlogic.info获得）。它以引言开头，为以下章节提供了有价值的上下文，并为作者使用的一些术语提供了有用的词汇表。引言分为三个主要部分：第一部分，“价值观显式语境”；第二部分“地球逻辑研究的启示”；第三部分，“时尚行动研究的整体地球逻辑景观”。第一部分描述了地球逻辑研究计划的八个核心价值观。它们包括多个中心、相互依存、不同的认识方式、共同创造、行动研究、扎根的想象力、对世界的关心和对自我的关心。这些值是链接的。多个中心涉及承认与地球有关的一切，包括非人类物种、自然、用户、社区和非西方视角。通过引入其他中心，研究人员可以开始了解所有事物、思想和关系是如何相互依存的，以及不同的思维方式是如何从这种相互依存中进化出来的。与不同知识的共同创造会带来新的技能、想法和行动。一旦人们考虑了这些价值观之间的相互关系，行动研究就开始了。这类研究包括探索、实践和
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Pub Date : 2022-12-13DOI: 10.1080/03612112.2022.2152975
S. Fu
As one of the very few items that “ascend to metaphorical stature,” cotton has attracted great academic attention. Lively interest has been growing in the investigation of the cotton trade, its material culture, and its complicated nexus with the global economy. Sylvia Jenkins Cook’s Clothed in Meaning: Literature, Labor, and Cotton in Nineteenth-Century America stands out as the first attempt to exhaustively excavate the reciprocal relationships between cotton, chattel, cloth, and clothing in nineteenth-century American literature. Cook asserts that “the fashion revolution driven by cotton promised the nonelite the elegance, variety, and joy in the sumptuary projections of selfhood that were formerly the exclusive preserve of the elite” (149). She focuses her study on laboring people in the cotton industry, deftly weaving personal stories and tactile sensation into the readers’ understanding of cotton history and American economy. The book consists of an introduction, eight chapters, and a conclusion. The introduction describes the subject and structure of the research, starting with the claim that clothing is important because it “registers palpably on the body and cognitively in the mind in a symbiotic connection” (1). Such a connection is fully shown in the cotton experience and clothing awareness of enslaved people and other laborers involved in the nineteenth-century cotton industry in the United States. Cook argues that an exploration into these groups’ oral discourse and writing articulates their subjectivity, their indispensable role in the constitution of the “empire of cotton” and “empire of fashion,” and their importance to the development of American literature, especially the burgeoning African American literature. The first chapter concentrates on the writing of women factory workers in the mid-1840s that appeared in the Lowell Work on this review was financially supported by Jiangsu Office of Philosophy and Social Sciences under Grant (No. 20WWB002).
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Pub Date : 2022-11-15DOI: 10.1080/03612112.2022.2139917
Stephanie Sporn
As museums increasingly stage costume exhibitions, the relationship between dress and art has been brought to the fore more than ever before. This connection is commonly explored in three exhibition formats: monolithic or multidesigner shows in which the maker’s creative genius and craft is likened to fine art; a show spotlighting designers or houses who are inspired by and directly collaborate with artists, whether for mass consumption or for art’s sake; or a show examining the dress in fine art. With its 2022 exhibition, Garmenting: Costume as Contemporary Art, the Museum of Arts and Design (MAD) in New York City entered uncharted territory as the first global survey exhibition dedicated to the use of clothing as a medium of visual art. Curated by Alexandra Schwartz, a New York-based art historian, curator, and adjunct professor in the School of Graduate Studies at SUNY j Fashion Institute of Technology, the exhibition presented works by thirty-five established and emerging international artists, including Louise Bourgeois (1911–2010), Nick Cave, Yinka Shonibare, and Zo€e Buckman. In an interview with Women’s Wear Daily, Schwartz shared that the exhibition’s use of “garmenting” as a descriptor for the phenomenon of clothing as a visual arts medium derived from multimedia artist Saya Woolfalk who used the term when discussing her own work. Schwartz previously had curated a solo show for Woolfalk, who also was featured in Garmenting in 2012–13. To theorize and historicize the notion of garmenting, which emerged during the 1960s and 1970s, the 2022 exhibition was organized around five interrelated themes: Functionality, Cultural Difference, Gender, Activism, and Performance. On the top floor of the exhibition were the Functionality and 1 For example, Christian Dior: Designer of Dreams, 2017–22, multiple museums.
随着博物馆越来越多地举办服装展览，服装与艺术之间的关系比以往任何时候都更加突出。这种联系通常在三种展览形式中进行探讨:单一或多设计师展览，其中制造商的创意天才和工艺被比作美术;一场展览聚焦受艺术家启发并直接与艺术家合作的设计师或公司，无论是为了大众消费还是为了艺术;或者是一场展示服饰艺术的展览。纽约艺术与设计博物馆(MAD)在2022年举办的展览《服装:作为当代艺术的服装》(garments: Costume as Contemporary Art)进入了未知领域，成为首个致力于将服装作为视觉艺术媒介的全球调查展览。此次展览由纽约艺术史学家、策展人、纽约州立大学时装学院研究生院兼职教授Alexandra Schwartz策划，展出了35位知名和新兴国际艺术家的作品，包括Louise Bourgeois(1911-2010)、Nick Cave、Yinka Shonibare和Zo€e Buckman。在接受《女装日报》的采访时，施瓦茨分享了这次展览使用“服装”作为描述服装作为视觉艺术媒介的现象的方法，这源于多媒体艺术家Saya Woolfalk，她在讨论自己的作品时使用了这个词。施瓦茨之前曾为伍尔福克策划过一场个展，伍尔福克也曾在2012年至2013年的《服装》杂志上亮相。为了将20世纪60年代和70年代出现的服装概念理论化和历史化，2022年的展览围绕五个相互关联的主题进行组织:功能、文化差异、性别、行动主义和表演。展览的顶楼是功能性和1例如，Christian Dior: Designer of Dreams, 2017-22，多个博物馆。
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Pub Date : 2022-10-15DOI: 10.29411/ncaw.2022.21.3.15
D. Baxter
As Elizabeth L. Block argues in Dressing Up: The Women Who Influenced French Fashion, later nineteenth-century French fashion often is understood through the lens of its designer or fashion house. Overwhelmingly, but not exclusively, this is the House of Worth, as in publications by Diana de Marly, JoAnne Olian, Elizabeth A. Coleman, or Amy de la Haye and Valerie D. Mendes, with Block herself having previously turned this lens towards Maison F elix. Alternatively, some studies approach the subject through representations of garments in visual media such as paintings and fashion plates, in the writing by Justine De Young or literary and cultural studies, or through a consideration of the makers themselves, as in works by Susan Hiner. In Dressing Up, Block claims for herself a different approach, one focused on the wealthy US women who were significant consumers. Hence the book’s subtitle: The Women Who Influenced French Fashion. Given this focus, the reader might anticipate chapters organized around specific women as case studies. And Brock does indeed inform the reader about the lived experiences, consumer knowledge, and choices of women such as Caroline Astor or Cornelia Bradley-Martin. Yet the book itself is not solely concerned with designer houses or retailers, garments, or consumers but instead with the circulation patterns in which all of these participated. While the volume’s title appears to promise details of women’s lives, the lives of garments are its focus, in fact. Indeed, in the introduction and conclusion to the volume, Block charges both the reader and seemingly herself to “follow the dresses” (4, 211). Thankfully, Block answers the call and in so doing presents the reader with a different, more complex, and ultimately more satisfying story. The narrative begins with an introduction to its players, the “Midcentury Tastemakers.” Again, by title, one might assume these to include figures such as an Emily Thorn Vanderbilt Sloane. Instead, the stage is set with milliners, dressmakers, various other classes of artisans, fashion publications, importers, and dry goods and department stores. Through these agents, US women 2 See Justine De Young, Fashion in European Art: Dress and Identity, Politics and the Body, 1775–1925 (London: I.B. Tauris, 2017); Susan Hiner in Accessories to Modernity: Fashion and the Feminine in Nineteenth-Century France (Philadelphia: University of Pennsylvania Press, 2010) and her forthcoming, Behind the Seams: Women, Fashion, and Work in Nineteenth-Century France (London: Bloomsbury). 1 Diana de Marly, Worth: Father of Haute Couture (New York: Holmes & Meier, 1980); JoAnne Olian, The House of Worth: The Gilded Age (New York: Museum of the City of New York, 1982); Elizabeth A. Coleman, The Opulent Era: Fashions of Worth, Doucet, and Pingat (New York: Thames and Hudson (Brooklyn Museum of Art), 1989); Amy de la Haye and Valerie D. Mendes, The House of Worth, 1890–1914: Portrait of an Archive (London: V&A Publishing
正如伊丽莎白·L·布洛克（Elizabeth L.Block）在《打扮：影响法国时尚的女人》（Dressing Up：The Women Who Influent French Fashion）一书中所说，19世纪后期的法国时尚通常是通过设计师或时装公司的镜头来理解的。正如戴安娜·德·马利（Diana de Marly）、乔安妮·奥利安（JoAnne Olian）、伊丽莎白·A·科尔曼（Elizabeth A.Coleman）或艾米·德拉·海伊（Amy de la Haye）和瓦莱丽·门德斯（Valerie D.Mendes。或者，一些研究通过绘画和时尚板等视觉媒介中的服装表现，贾斯汀·德·杨的作品或文学和文化研究，或通过考虑制造商本身，如苏珊·希纳的作品，来处理这个主题。在《盛装打扮》中，布洛克为自己声称了一种不同的方法，一种专注于作为重要消费者的富有美国女性的方法。因此，这本书的副标题是：《影响法国时尚的女人》。鉴于这一重点，读者可能会将围绕特定女性组织的章节作为案例研究。布洛克确实向读者介绍了卡罗琳·阿斯特或科妮莉亚·布拉德利·马丁等女性的生活经历、消费者知识和选择。然而，这本书本身并不仅仅关注设计师住宅或零售商、服装或消费者，而是关注所有这些人参与的流通模式。虽然这本书的标题似乎承诺了女性生活的细节，但事实上，服装的生活是它的重点。事实上，在这本书的引言和结论中，布洛克要求读者和她自己“追随裙子”（4211）。值得庆幸的是，布洛克接听了电话，这样做为读者呈现了一个不同的、更复杂的、最终更令人满意的故事。故事开始于对其玩家“世纪中期的品味制造者”的介绍。同样，根据标题，人们可能会认为这些人包括艾米丽·索恩·范德比尔特·斯隆这样的人物。取而代之的是，舞台上有女帽匠、裁缝、其他各类工匠、时尚出版物、进口商、干货和百货公司。通过这些代理人，美国女性2参见Justine De Young，《欧洲艺术中的时尚：着装与身份、政治与身体》，1775–1925（伦敦：I.B.陶里斯，2017）；苏珊·希纳在《现代配饰：19世纪法国的时尚与女性》（费城：宾夕法尼亚大学出版社，2010年）和她即将出版的《接缝背后：19世纪的法国女性、时尚与工作》（伦敦：布鲁姆斯伯里出版社）中发表。1戴安娜·德·马利，《沃斯：高级时装之父》（纽约：Holmes&Meier，1980）；JoAnne Olian，《价值之家：镀金时代》（The House of Worth:The Gilded Age）（纽约：纽约市博物馆，1982年）；伊丽莎白·A·科尔曼（Elizabeth A.Coleman），《辉煌时代：沃斯、杜塞特和平格特的时尚》（The Opulous Era:Fashions of Worth，Doucet，and Pingat）（纽约：泰晤士和哈德逊（Brooklyn Museum of Art），1989年）；Amy de la Haye和Valerie D.Mendes，《沃斯之家，1890–1914：档案馆的肖像》（伦敦：V&A出版社，2014）；和Elizabeth L.Block，“Maison F elix及其客户的体型，1875–1900，”西部86：装饰艺术、设计史和材料文化杂志26，第1期（2019年春季/夏季）：80–103。
{"title":"Dressing Up: The Women Who Influenced French Fashion","authors":"D. Baxter","doi":"10.29411/ncaw.2022.21.3.15","DOIUrl":"https://doi.org/10.29411/ncaw.2022.21.3.15","url":null,"abstract":"As Elizabeth L. Block argues in Dressing Up: The Women Who Influenced French Fashion, later nineteenth-century French fashion often is understood through the lens of its designer or fashion house. Overwhelmingly, but not exclusively, this is the House of Worth, as in publications by Diana de Marly, JoAnne Olian, Elizabeth A. Coleman, or Amy de la Haye and Valerie D. Mendes, with Block herself having previously turned this lens towards Maison F elix. Alternatively, some studies approach the subject through representations of garments in visual media such as paintings and fashion plates, in the writing by Justine De Young or literary and cultural studies, or through a consideration of the makers themselves, as in works by Susan Hiner. In Dressing Up, Block claims for herself a different approach, one focused on the wealthy US women who were significant consumers. Hence the book’s subtitle: The Women Who Influenced French Fashion. Given this focus, the reader might anticipate chapters organized around specific women as case studies. And Brock does indeed inform the reader about the lived experiences, consumer knowledge, and choices of women such as Caroline Astor or Cornelia Bradley-Martin. Yet the book itself is not solely concerned with designer houses or retailers, garments, or consumers but instead with the circulation patterns in which all of these participated. While the volume’s title appears to promise details of women’s lives, the lives of garments are its focus, in fact. Indeed, in the introduction and conclusion to the volume, Block charges both the reader and seemingly herself to “follow the dresses” (4, 211). Thankfully, Block answers the call and in so doing presents the reader with a different, more complex, and ultimately more satisfying story. The narrative begins with an introduction to its players, the “Midcentury Tastemakers.” Again, by title, one might assume these to include figures such as an Emily Thorn Vanderbilt Sloane. Instead, the stage is set with milliners, dressmakers, various other classes of artisans, fashion publications, importers, and dry goods and department stores. Through these agents, US women 2 See Justine De Young, Fashion in European Art: Dress and Identity, Politics and the Body, 1775–1925 (London: I.B. Tauris, 2017); Susan Hiner in Accessories to Modernity: Fashion and the Feminine in Nineteenth-Century France (Philadelphia: University of Pennsylvania Press, 2010) and her forthcoming, Behind the Seams: Women, Fashion, and Work in Nineteenth-Century France (London: Bloomsbury). 1 Diana de Marly, Worth: Father of Haute Couture (New York: Holmes & Meier, 1980); JoAnne Olian, The House of Worth: The Gilded Age (New York: Museum of the City of New York, 1982); Elizabeth A. Coleman, The Opulent Era: Fashions of Worth, Doucet, and Pingat (New York: Thames and Hudson (Brooklyn Museum of Art), 1989); Amy de la Haye and Valerie D. Mendes, The House of Worth, 1890–1914: Portrait of an Archive (London: V&A Publishing","PeriodicalId":42364,"journal":{"name":"Dress-The Journal of the Costume Society of America","volume":"49 1","pages":"93 - 94"},"PeriodicalIF":0.4,"publicationDate":"2022-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47439998","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 : 2022-09-05DOI: 10.1080/03612112.2022.2106689
Małgorzata Możdżyńska-Nawotka
This article is concerned with identification and interpretation of the costumes featured in two portraits of Polish aristocratic women by Franz Xaver Winterhalter: Katarzyna Potocka née Branicka in Oriental Costume, 1854 (National Museum in Warsaw) and Wieńczysława Barczewska, Madame de Jurjewicz, 1860 (Museum of Fine Arts in Boston). The former outfit, brought by the wearer from her journey to the Near East, references dress worn by Greek women in the Ottoman Empire. The latter is fancy dress featuring the jacket called polka, harking back to the overcoat called kontusz, iconic of the Orient-inspired historical Polish national dress. Winterhalter’s painterly treatment showcases the wearers’ agenda for selecting the ensembles that reflected their personal circumstances and also conveyed patriotic allusions in the context of Poland’s current status as a partitioned nation. The meanings of the “oriental” elements in both costumes extend beyond the note of exoticism to which they have been hitherto reduced.
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Pub Date : 2022-07-03DOI: 10.1080/03612112.2022.2089480
Brian Centrone
In America is a two-part exploration of American fashion celebrating the Metropolitan Museum of Art Costume Institute’s seventy-fifth anniversary. The first part, A Lexicon of Fashion, which opened in September 2021 and was refreshed in March 2022, seeks to establish a new vocabulary for American fashion. The second part, An Anthology of Fashion, which opened in May 2022, presents historical costumes displayed in the American Wing period rooms framing “sartorial narratives that relate to the complex and layered histories of those rooms” (exhibition press release). While it is unusual for the Costume Institute to link the fall/winter exhibition and the spring exhibition together and rotate out almost the entirety of the fashions on display halfway through a show’s run, the theme of American fashion has been a recurring focus for the Costume Institute over its seventy-fiveyear history. In this two-part exhibition, Head Curator Andrew Bolton and his team present their most unique, ambitious, and diverse exploration of this subject to date. In America is a culmination of all that has come before in exploring elements of craft, style, and design while addressing issues of identity, culture, society, race, and politics in American fashion. This is accomplished in two ways. First, the team worked to create a broader vocabulary for American fashion that extends beyond sport and ready-to-wear to generate a kind of emotional language long associated with the European haute couture; over 100 words are curated, defined, contextualized, and allocated to the garments on display via text panels described in the introductory wall text as “word-bubble headpieces.” Second, and perhaps more importantly, the exhibition seeks to tell the hidden histories of some of America’s lessknown designers. A Lexicon of Fashion is arranged in twelve sections described as the 1 Previous exhibitions such as American Creations and Sources from Which They Have Been Derived (1940), American Fashions and Fabrics (1945), American Women of Style (1975), American Ingenuity (1998), Adrian: American Glamour (2002), and American Woman: Fashioning a National Identity (2010) have explored the designing, collecting, and shaping of American fashion.
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Pub Date : 2022-07-03DOI: 10.1080/03612112.2022.2090109
Tina Bates
In an interview quoted above, Marisa J. Fuentes explained her concept of “reading along the bias grain” that she used in her seminal study, Dispossessed Lives: Enslaved Women, Violence, and the Archive. Her book is a call to rethink how historians can approach the absence of archival evidence to examine the lives of people in the past who left little or no written or material testimony. In Fuentes case, she explores women’s lives in eighteenth-century Barbados by “stretching the bias” of fragmentary sources, at the same time exposing how colonial attitudes silenced women’s voices in the archive. Another similar bias reading is Tiya Miles, All That She Carried: The Journey of Ashley’s Sack, a Family Keepsake, a history of three generations of women from slavery to the early twentieth century through the analysis of a material object, a cotton bag embroidered with a few words denoting its family background. This analogy of “bias grain,” of course, has resonance for dress and textile scholars. Many authors for Dress have read between the lines to recover hidden stories of marginal or oppressed people. But not all evidence is “hidden.” There is still much work to be done with archival material that either has not been exploited or examined from the point of view of dress. Two articles in this issue draw on new and unexplored evidence. Elaine Farrell and Eliza McKee, in their article “Captured in the Clothing: Ireland, 1850s–1890s,” examined an Irish police gazette, the Hue and Cry. They collected data on descriptions of clothing from the 4,083 wanted notices to identify suspected criminals or missing persons. Clothing was important (of course!) in that identification. The data reveal much about what common people wore in Ireland. Thus, the authors have relied on an accessible Schomburg Center for Research in Black Culture, Photographs and Prints Division, The New York Public Library. “Sleeping [Nideri]” New York Public Library Digital Collections.
在上面引用的一次采访中，玛丽莎·j·富恩特斯解释了她在她的开创性研究《被剥夺的生活:被奴役的妇女、暴力和档案》中使用的“沿着偏见阅读”的概念。她的书呼吁人们重新思考，历史学家应该如何处理档案证据缺失的问题，来研究那些几乎没有留下书面或物质证据的过去人们的生活。在富恩特斯的案例中，她通过零碎资料的“延伸偏见”，探索了18世纪巴巴多斯女性的生活，同时揭示了殖民态度如何在档案中压制女性的声音。另一本类似的带有偏见的读物是蒂亚·迈尔斯的《她所携带的一切:阿什莉的麻袋之旅，一个家庭纪念品》，这本书通过对一个实物的分析，讲述了从奴隶制到二十世纪初三代女性的历史，一个绣着几个字表示家庭背景的棉袋。当然，这种“偏纹”的类比引起了服装和纺织品学者的共鸣。《Dress》杂志的许多作者都从字里行间寻找隐藏在边缘或被压迫人群背后的故事。但并非所有证据都是“隐藏的”。还有很多工作要做，这些档案材料要么没有被利用，要么没有从服装的角度进行研究。本期的两篇文章引用了新的和未被探索的证据。伊莱恩·法雷尔(Elaine Farrell)和伊丽莎·麦基(Eliza McKee)在一篇名为《衣中捕捉:1850 - 1890年代的爱尔兰》的文章中，研究了一份名为《色相与呐喊》(Hue and Cry)的爱尔兰警察公报。他们从4083份通缉令中收集了服装描述数据，以识别犯罪嫌疑人或失踪人口。在这种身份识别中，服装是很重要的(当然!)这些数据揭示了爱尔兰普通人的许多穿着。因此，作者依靠的是纽约公共图书馆摄影和印刷品部朔姆伯格黑人文化研究中心。《沉睡的尼德瑞》纽约公共图书馆数字馆藏。
{"title":"Welcome to Vol. 48, No. 2","authors":"Tina Bates","doi":"10.1080/03612112.2022.2090109","DOIUrl":"https://doi.org/10.1080/03612112.2022.2090109","url":null,"abstract":"In an interview quoted above, Marisa J. Fuentes explained her concept of “reading along the bias grain” that she used in her seminal study, Dispossessed Lives: Enslaved Women, Violence, and the Archive. Her book is a call to rethink how historians can approach the absence of archival evidence to examine the lives of people in the past who left little or no written or material testimony. In Fuentes case, she explores women’s lives in eighteenth-century Barbados by “stretching the bias” of fragmentary sources, at the same time exposing how colonial attitudes silenced women’s voices in the archive. Another similar bias reading is Tiya Miles, All That She Carried: The Journey of Ashley’s Sack, a Family Keepsake, a history of three generations of women from slavery to the early twentieth century through the analysis of a material object, a cotton bag embroidered with a few words denoting its family background. This analogy of “bias grain,” of course, has resonance for dress and textile scholars. Many authors for Dress have read between the lines to recover hidden stories of marginal or oppressed people. But not all evidence is “hidden.” There is still much work to be done with archival material that either has not been exploited or examined from the point of view of dress. Two articles in this issue draw on new and unexplored evidence. Elaine Farrell and Eliza McKee, in their article “Captured in the Clothing: Ireland, 1850s–1890s,” examined an Irish police gazette, the Hue and Cry. They collected data on descriptions of clothing from the 4,083 wanted notices to identify suspected criminals or missing persons. Clothing was important (of course!) in that identification. The data reveal much about what common people wore in Ireland. Thus, the authors have relied on an accessible Schomburg Center for Research in Black Culture, Photographs and Prints Division, The New York Public Library. “Sleeping [Nideri]” New York Public Library Digital Collections.","PeriodicalId":42364,"journal":{"name":"Dress-The Journal of the Costume Society of America","volume":" ","pages":"i - ii"},"PeriodicalIF":0.4,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47459727","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 : 2022-07-03DOI: 10.1080/03612112.2022.2090724
Natalie Wright
In this essay, I argue that clothing played an important role in the establishment and maintenance of the postwar American project of independence and “normalcy.” Using previously unpublished sources, I trace the history of Functional Fashions, a clothing line of accessible garments for disabled persons in the United States that existed from 1958 to 1976. Designer Helen Cookman created the line as well as the associated non-profit Clothing Research and Development Foundation (CRDF). This essay establishes a history of both the Functional Fashions line and the CRDF, including Cookman’s design methodology behind the garments, how CRDF partnered with other important sportswear designers, and how they created the ideal Functional Fashions user. I ultimately show that the goal of the line was for Functional Fashions users to participate in the postwar American culture of bodily autonomy and that CRDF leadership framed this participation as a form of psychological rehabilitation.
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