Pub Date : 2022-07-03DOI: 10.1080/03612112.2022.2090107
Sara B. Marcketti
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Pub Date : 2022-07-03DOI: 10.1080/03612112.2022.2101235
L. Mally, C. Keist
In the mid-1920s, American clothing manufacturers introduced a new size range they called the “new half sizes.” It was in response to emerging biometric data showing that women were not as tall as the standard sizes designers had assumed. In addition, the new sizes added extra room at the waist and hip, intended to accommodate those who had abandoned corsets. Initially, manufacturers claimed that this new size range would fit the majority of American women better than existing sizes, making ready-to-wear clothes available without costly alterations. However, even as the industry sought to expand its market share, retailers and advertisers did so in ways that limited potential customers. Half sizes quickly gained a reputation of being intended for the stout and old in an era that glorified the slim and young.
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Pub Date : 2022-07-03DOI: 10.1080/03612112.2022.2089481
Judi Dawainis
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Pub Date : 2022-06-23DOI: 10.1080/03612112.2022.2078566
Jaclyn Marcus
Fashion is about so much more than just clothes; it is an environment, cultivated through labor and the material in the form of text, images, video, objects, and of course, the garment itself. As a designer, Christian Dior understood this, and his quote “From the shoes to the hat, the silhouette must be viewed as a whole” was included in the very first panel the visitor encountered when entering the Brooklyn Museum. As the exhibition Christian Dior: Designer of Dreams explained, only a few years after founding the House of Dior in 1947, Christian Dior licensed accessories including jewelry and perfume to extend the brand’s reach. The dreamscape crafted by Dior was accomplished through press, marketing, and multisensory engagement as much as it was by beautiful clothing designs. This strategy was evident in the exhibition itself, with garments on display placed in conversation with film, art, photographs, and press excerpts, allowing for an innovative and visually stunning retrospective of the House of Dior legacy. Curated by the Denver Art Museum’s Avenir Foundation Curator of Textile Art and Fashion Florence M€ uller and the Brooklyn Museum’s Senior Curator of Fashion and Material Culture Matthew Yokobosky with exhibition design by Nathalie Crini ere, Christian Dior: Designer of Dreams builds on past exhibitions held at the Mus ee des Arts D ecoratifs in Paris, also curated by M€ uller, the Victoria and Albert Museum in London, the Long Museum West Bund in Shanghai, China, and elsewhere. Fittingly, this exhibition was displayed in the Brooklyn Museum’s Beaux-Arts Court, which was designed in the late nineteenth century. Visitors traveled through alternating darkened pathways and brightly lit spaces, as well as a vast, fourteen-meter-high atrium labeled the “The Enchanted Garden,” where Dior’s fascination with the natural world was placed on display (FIGURE 1). The prolonged conversations and mask-wearing selfies of avid exhibition visitors demonstrated the sustained desire and interest in fashion in the museum as a form of escape, even as the unrelenting impacts of the COVID19 pandemic continue to be felt. I would like to thank Dr. Ingrid Mida, Katie Johnson, and the Dress editorial and reviews team for their insightful editing and guidance. I would also like to thank Dr. Alison Matthews David for her thoughtful suggestions and insights. Finally, I would like to thank the Brooklyn Museum for providing access to the images included in this article. Jaclyn Marcus is supported in part by funding from the Social Sciences and Humanities Research Council.
时尚不仅仅是衣服；它是一种环境，通过劳动和材料以文本、图像、视频、物体的形式培养，当然还有服装本身。作为一名设计师，Christian Dior明白这一点，他在进入布鲁克林博物馆时遇到的第一块面板中就包含了他的名言“从鞋子到帽子，轮廓必须被视为一个整体”。正如展览Christian Dior:Designer of Dreams所解释的那样，在1947年创立迪奥之家仅几年后，Christian Dior就授权了包括珠宝和香水在内的配饰，以扩大品牌的影响力。迪奥精心打造的梦幻景观是通过媒体、营销和多感官参与实现的，就像它是通过美丽的服装设计实现的一样。这一策略在展览本身就很明显，展出的服装与电影、艺术、照片和新闻摘录进行了对话，从而对迪奥家族的遗产进行了创新和视觉震撼的回顾。由丹佛美术馆Avenir基金会纺织艺术与时尚策展人Florence M€uller和布鲁克林博物馆时尚与材料文化高级策展人Matthew Yokobosky策划，展览设计由Nathalie Crini ere、Christian Dior:Designer of Dreams在巴黎艺术与文化博物馆（Mus ee des Arts D ecoratifs）过去举办的展览的基础上进行，伦敦的维多利亚和阿尔伯特博物馆、中国上海的西外滩龙博物馆和其他地方。恰如其分的是，这个展览在布鲁克林博物馆的美术馆展出，该美术馆设计于19世纪末。游客们穿过交替的黑暗通道和明亮的空间，还有一个14米高的巨大中庭，被称为“迷人的花园”，迪奥对自然世界的迷恋在这里得到了展示（图1）。狂热的展览参观者长时间的交谈和戴口罩的自拍表明，即使新冠肺炎疫情的无情影响仍在继续，博物馆对时尚作为一种逃避形式的持续渴望和兴趣。我要感谢Ingrid Mida博士、Katie Johnson以及Dress编辑和评论团队的富有洞察力的编辑和指导。我还要感谢Alison Matthews David博士提出的深思熟虑的建议和见解。最后，我要感谢布鲁克林博物馆提供本文中包含的图像。Jaclyn Marcus的部分资助来自社会科学和人文研究委员会。
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Pub Date : 2022-06-20DOI: 10.1080/03612112.2022.2081387
Sandra Mathey García-Rada
In October 2020, the Palais Galliera in Paris, the only permanent fashion museum in France, reopened its doors after a two-year renovation designed by architect Dominique Brard. The new Salles Gabrielle Chanel added 7,535 square feet to the basement, doubling the exhibition space of the museum and allowing for the creation of galleries that will display objects from the permanent collection. The exhibition A History of Fashion, Collecting & Exhibiting at the Palais Galliera opened in October 2021 and was the second exhibition presented in the new space. The aim of the exhibit was to introduce visitors to the history of French fashion and to the role of the Palais Galliera in the construction of the history of Paris. The exhibition featured a selection of about 350 objects from the museum’s permanent collection of more than 200,000 pieces that date from the eighteenth century to the present day. Due to the fragility of some of the pieces, the display will be changed approximately every six months. The first objects displayed in the hall of the Salle Gabrielle Chanel were an eighteenth-century robe volante, made of pale yellow and silver silk brocade lampas, and a 2019 black satin coat and rose-patterned dress in blush and black with red accents by Comme des Garçons. The juxtaposed pieces, although centuries apart, shared a similar silhouette with volume added to the hips, creating an immediate visual connection between a historical garment and a contemporary design. This idea of fashion being born again was one that the visitor could explore throughout the exhibition. As well, the introductory
2020年10月，法国唯一的永久性时尚博物馆巴黎加莱拉宫在建筑师多米尼克·布拉德设计的两年翻新后重新开门。新的Salles嘉柏丽尔·香奈儿（Gabrielle Chanel）为地下室增加了7535平方英尺，使博物馆的展览空间增加了一倍，并允许创建展示永久收藏物品的画廊。展览“时尚史、收藏与展览”于2021年10月在加莱拉宫开幕，是在新空间举办的第二个展览。展览的目的是向游客介绍法国时尚的历史，以及加莱拉宫在巴黎历史建设中的作用。展览精选了博物馆20多万件藏品中的约350件，这些藏品可以追溯到18世纪至今。由于一些作品的脆弱性，展览将大约每六个月更换一次。在Salle嘉柏丽尔·香奈儿大厅展出的第一批物品是一件由淡黄色和银色丝绸锦缎灯制成的八世纪长袍volante，以及一件2019年由Comme des Garçons设计的红色和黑色的黑色缎面外套和玫瑰图案连衣裙。这些并置的作品虽然相隔数百年，但有着相似的轮廓，臀部增加了体积，在历史服装和当代设计之间创造了直接的视觉联系。这种时尚重生的想法是游客可以在整个展览中探索的。此外
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Pub Date : 2022-06-10DOI: 10.1080/03612112.2022.2074102
R. Carufel
Virginia Postrel’s The Fabric of Civilization: How Textiles Made the World deftly showcases the pivotal role textiles played across time and diverse cultures in crafting world economies and revolutionary technologies. Postrel is an independent scholar, authoring two previous books, The Substance of Style (2003) and The Power of Glamour (2013), plus penning columns for Bloomberg Opinion, the Wall Street Journal, and the New York Times. In The Fabric of Civilization, Postrel blends findings from groundbreaking scientific research to chronicle textiles’ profound, yet taken-for-granted history. The book has seven chapters, plus a preface, afterword, and sections for acknowledgements, glossary, notes, and index. The chapters begin with production (chapters 1–4: fiber, thread, cloth, dye), move to trade (chapters 5–6: traders, consumers), and conclude with research (chapter 7: innovators). The preface sets the tone for the book, highlighting the sustained impact textiles played throughout human history, laying out the main argument, and orienting the reader towards chapter topics. The
Virginia Postrel的《文明的结构:纺织品如何创造世界》巧妙地展示了纺织品在创造世界经济和革命性技术的过程中，跨越时间和不同文化所发挥的关键作用。波斯特雷尔是一位独立学者，曾著有《风格的本质》(2003)和《魅力的力量》(2013)两本书，并为《彭博观点》、《华尔街日报》和《纽约时报》撰写专栏。在《文明的织物》一书中，波斯特雷尔将突破性的科学研究成果融合在一起，记录了纺织品深刻而又理所当然的历史。这本书有七章，加上序言，后记，和部分致谢，词汇表，注释和索引。这些章节从生产开始(第1-4章:纤维、线、布、染料)，转到贸易(第5-6章:贸易商、消费者)，最后以研究结束(第7章:创新者)。前言为本书奠定了基调，强调了纺织品在人类历史上所发挥的持续影响，列出了主要论点，并将读者引导到章节主题。的
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Pub Date : 2022-06-06DOI: 10.1080/03612112.2022.2071033
Karen Duffek
The idea of motion and movement— across time, space, geo-political borders and borderlands, Indigenous and imperial networks, and knowledge systems—is at the center of this important, timely volume. Analyzing material culture as integral to, and expressive of, the dynamics of cross-cultural exchange and relations means that each object presented in its multiple case studies may be understood as verb rather than only as noun. Through close, careful looking and listening, a collaborative group of scholars and knowledge-holders, including the individuals contributing to this volume, began working together with northern North American museum collections in 2015. The goal of their four-year, Edmonton-based “Object Lives” project was to develop and practice a methodology for material and decolonial analysis, where attention to the object and its materiality also encompasses regional, Indigenous, settler, and broad global processes of historical change and exchange. Objects defined by their making, reworking, interacting, circulating, functioning, and acting therefore are considered inseparable from the complex cross-cultural relationships and diverse community histories they manifest. The case studies presented here by twelve contributors identify textiles and fashion, among other mediums, as active agents of culture change. They are offered to readers “as a tool for future endeavours” (49) whereby more scholarship might be guided by these deeply researched examples of bringing objects, people, and global histories together. Throughout, the authors’ aim is clear:
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Pub Date : 2022-05-27DOI: 10.1080/03612112.2022.2071031
Andrea Melvin
The Iconic Jersey: Baseball X Fashion examines the design and aesthetics of the baseball jersey through brief essays, colorful photographs, and a wide variety of primary sources including jerseys themselves. The book’s author, Erin Corrales-Diaz, was curator for the accompanying exhibition at Worcester Art Museum in Worcester, Massachusetts, which ran from June 12–September 12, 2021. The catalog begins with the section “Rooting for Laundry,” a title referencing the famous comedy skit by comedian and noted New York Met’s fan Jerry Seinfeld, who exclaimed that fans are not really rooting for players (as the rosters tend to change), they are rooting for the uniforms. It features quotes about the baseball jersey from curators, researchers, baseball officials, players, and academics arranged alongside touching and playful baseball cartoons by award-winning illustrator Anika Orrock. Capturing the nostalgia surrounding baseball, the first cartoon shows a father and son walking and holding hands in their Chicago Cubs jackets with the father clearly cherishing the moment with his son. In the next drawing, the same father and son are in their Cubs jackets holding hands, but both men are much older, and this time it is the son gazing at his elderly father, cherishing the moment. These quotes and images are a strong introduction to the catalog as they demonstrate the extent to which the baseball jersey has resonated with our society, moving beyond the purpose of play and into the world of fashion and everyday clothing. This exhibition and accompanying catalog came together during the height of the COVID-19 global pandemic, and one cannot help but appreciate the commitment necessary to see this in-depth project through. It involved accessing (and borrowing for the exhibit) many actual baseball jerseys and archival materials as well as compiling images from a host of museums, archives, designers, and artists. As one would expect, much of the research used the Baseball Hall of Fame collections.
标志性球衣：Baseball X Fashion通过短文、彩色照片和包括球衣本身在内的各种主要来源，审视了棒球球衣的设计和美学。该书的作者Erin Corrales Diaz是2021年6月12日至9月12日在马萨诸塞州伍斯特市伍斯特美术馆举行的展览的策展人。目录以“为洗衣店加油”一节开始，这个标题引用了喜剧演员、著名的纽约大都会歌剧院粉丝杰里·宋飞的著名喜剧短剧，他惊呼粉丝们并不是真的支持球员（因为名单往往会改变），而是支持制服。它引用了策展人、研究人员、棒球官员、球员和学者关于棒球球衣的话，并配以获奖插画师Anika Orrock的感人有趣的棒球漫画。为了捕捉棒球的怀旧情绪，第一幅漫画展示了一对父子穿着芝加哥小熊队的夹克手牵着手走路，父亲显然很珍惜与儿子在一起的时刻。在下一幅画中，同一对父子穿着小熊队的夹克，手牵着手，但两人的年龄都大了很多，这一次是儿子凝视着年迈的父亲，珍惜这一刻。这些名言和图片有力地介绍了棒球衫在多大程度上与我们的社会产生了共鸣，超越了比赛的目的，进入了时尚和日常服装的世界。这次展览和配套目录是在新冠肺炎全球大流行最严重的时候举办的，人们不禁要感谢为完成这一深入项目所做出的必要承诺。它包括访问（并为展览借用）许多实际的棒球球衣和档案材料，以及汇编来自许多博物馆、档案馆、设计师和艺术家的图像。正如人们所料，大部分研究都使用了棒球名人堂收藏。
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Pub Date : 2022-05-19DOI: 10.1080/03612112.2022.2071378
C. Keist
Paolo Volonte, associate professor of Cultural Sociology at Politecnico di Milano in Italy, hits the nail on the head when he states that “As long as plus-size clothing is sealed off into containers that are separate from regular fashion, such as the Full Figured Fashion Week, its marginal position within the fashion system is consolidated rather than called into question” (1). Being fat, or “plus-sized”—if you are more comfortable with that term, I have always felt left out of fashion. Fat Fashion: The Thin Ideal and the Segregation of Plus-Size Bodies views fat fashion through a sociological perspective that is “only marginally based on independent empirical research” (viii). It explores the fashion system (emphasis in original) of the western world, which the author defines as creating, manufacturing, retailing, and communicating clothing. Volonte provides an academic-focused look into the segregation of plus-sized bodies and the plus-size clothing industry. He draws on research from many different academic fields, and the book is rich in information. It examines the paradox of nonexistent fat fashion, the tyranny of slenderness, the persistence of the thin ideal, the sizing of clothing, the segregation of non-thin bodies, and prospects for change. Volante focuses on western womenswear and does not cover children’s, men’s, nor non-western
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Pub Date : 2022-05-19DOI: 10.1080/03612112.2022.2071030
Laura L. Camerlengo
This question is posed to the reader at the outset of Lucy Adlington’s The Dressmakers of Auschwitz: The True Story of the Women Who Sewed to Survive. It echoes the first words said to Adlington by Berta Berkovich Koh ut, who, until her passing last year at age 99, was the last of a group of Jewish women who survived Auschwitz—perhaps the most infamous of all World War II death camps—by making high-fashion ball gowns and cocktail dresses for the wives of Nazi officers. Indeed, the idea that a fashion salon could be operating in the same facility where more than one million people were killed systematically is almost unbelievable. But, as Adlington’s well-studied yet poignant book reveals, the story is entirely true. By weaving together extensive archival research, including contemporary fashion press and advertisements, the harrowing personal accounts of the dressmakers, and diverse black-and-white illustrations ranging from fashion sketches and magazine spreads to personal photographs, Adlington illuminates a muchunderstudied area of history and pays tribute to the remarkable women who survived the Holocaust by their needles and thread. The text is one of several publications about women’s clothing during World War II by Adlington, a British novelist and costume historian. Her prior work on similar subjects includes The Red Ribbon (Candlewick Press, 2018), a fictionalized account of the dressmakers of Auschwitz, and Women’s Lives and Clothes in WW2: Ready for Action (Pen and Sword History, 2020), the latter reviewed by Nan Turner in Dress (vol. 47, no. 2 [2021]). The subject of women’s fashion during World War II has benefitted from an abundance of fresh
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