Pub Date : 2022-04-07DOI: 10.1080/03612112.2022.2039484
E. Farrell, E. McKee
Clothing was hugely important in the identification of criminal suspects at large, missing persons, or deceased strangers in the nineteenth century. Descriptions of dress thus feature prominently in the Irish police gazette, the Hue and Cry, which published wanted notices from across the island. This article explores what descriptions in the Hue and Cry reveal about clothing and the wearer in Ireland and is based on a sample of 4,083 notices published from the 1850s to 1890s that document almost 14,000 individual items of clothing and footwear. It showcases intertwined meanings attached to clothing and argues that inhabitants could “read” bodies for what dress revealed about the wearer, with a particular focus on gender, age, social position, and occupation. Recognizing that people’s garments identified them in multiple ways, this article also shows that Irish inhabitants used dress as a form of deception. In doing so, it offers fresh insight into how nineteenth-century Irish inhabitants dressed and understood their clothing and the clothing of others.
在19世纪，服装在识别在逃犯罪嫌疑人、失踪人员或死去的陌生人方面非常重要。因此，在爱尔兰警方公报《色相与呐喊》(Hue and Cry)上，对着装的描述占据了显著位置，该公报刊登了全岛各地的通缉令。本文基于19世纪50年代至90年代发布的4083份通知样本，研究了《色相与呐喊》中对爱尔兰服装和穿着者的描述，这些通知记录了近14000件服装和鞋类。它展示了服装所附带的相互交织的含义，并认为居民可以“读懂”穿着者的身体，特别关注性别、年龄、社会地位和职业。认识到人们的服装可以以多种方式识别他们，这篇文章还表明，爱尔兰居民将服装作为一种欺骗形式。在这样做的过程中，它为19世纪爱尔兰居民如何穿着和理解他们的服装以及其他人的服装提供了新的视角。
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Pub Date : 2022-01-02DOI: 10.1080/03612112.2022.2029007
Sarah Hegge, S. Wajda, M. Worrall
The One Hour Dress was considered a “sensation” when introduced in 1923 by sewing and fashion expert Mary Brooks Picken (1886–1968) of the Woman’s Institute of Domestic Arts and Sciences in Scranton, Pennsylvania. Through demonstrations held at American department stores between 1923 and 1925, Picken sought to stop a national decline in sales of sewing equipment and supplies. Endorsement by film actress Mae Marsh (1894–1968) linked the dress with Hollywood glamour at a time when celebrity and mass consumption were changing the fashion industry and advertising. Reconstructing the One Hour Dress led to a re-examination of the Michigan State University Museum’s historic dress collection, where was found a garment constructed along similar lines. The authors offer guidelines to identify One Hour-type dresses. The One Hour Dress, as a teaching tool, offers a case study for studying the past to merge pre-industrial dressmaking (local production, customization) and modern standards of quality and style.
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Pub Date : 2022-01-02DOI: 10.1080/03612112.2022.2029023
Chloe Chapin
This beautifully produced catalogue can whet our appetite for a stunning exhibition that will open the new Fashion Gallery at the Manchester Art Gallery in October 2022. The exhibition is based on the collection formerly housed at the Gallery of Costume at Platt Hall, an affiliate of the Manchester Art Gallery. The Platt Hall gallery was founded in 1947 with the substantial collection of dress historians Willet and Phillis Cunnington, and the size and scope of its collection rivals those of the Victoria & Albert Museum and the Fashion Museum in Bath. The Platt Hall building itself is now being repaired and reconceived for other purposes, and the dress collection is being re-housed in the main museum. The catalogue’s substantial introduction is co-written by the editors and exhibition co-curators: Miles Lambert, long-time costume curator at Platt Hall, and Shaun Cole, associate professor of fashion at the University of Southampton. Additional contributors for the following eight chapters include curators Rebecca Milner and Ben Whyman, performance studies scholar Kate Dorney, and lecturer in fashion and masculinity Jay McCauley Bowstead. Taken together, this collection represents a wide range of approaches within current menswear scholarship, through the lens of one substantial collection. The well-written text demonstrates a sophisticated level of primary source analysis and offers multiple methodological approaches that demonstrate the variety of ways in which men’s fashion manifests itself in the cultural imaginary. Fashion plates show what is fashionable, while satirical cartoons make fun of those who take dressing to excess. Beautifully photographed historical garments and images of contemporary runway fashion models show off high-end design and construction on the idealized figure. Portrait paintings and studio photography portraits show how men and designers want to be perceived, while street photography and close-up
{"title":"Dandy Style: 250 Years of British Men’s Fashion","authors":"Chloe Chapin","doi":"10.1080/03612112.2022.2029023","DOIUrl":"https://doi.org/10.1080/03612112.2022.2029023","url":null,"abstract":"This beautifully produced catalogue can whet our appetite for a stunning exhibition that will open the new Fashion Gallery at the Manchester Art Gallery in October 2022. The exhibition is based on the collection formerly housed at the Gallery of Costume at Platt Hall, an affiliate of the Manchester Art Gallery. The Platt Hall gallery was founded in 1947 with the substantial collection of dress historians Willet and Phillis Cunnington, and the size and scope of its collection rivals those of the Victoria & Albert Museum and the Fashion Museum in Bath. The Platt Hall building itself is now being repaired and reconceived for other purposes, and the dress collection is being re-housed in the main museum. The catalogue’s substantial introduction is co-written by the editors and exhibition co-curators: Miles Lambert, long-time costume curator at Platt Hall, and Shaun Cole, associate professor of fashion at the University of Southampton. Additional contributors for the following eight chapters include curators Rebecca Milner and Ben Whyman, performance studies scholar Kate Dorney, and lecturer in fashion and masculinity Jay McCauley Bowstead. Taken together, this collection represents a wide range of approaches within current menswear scholarship, through the lens of one substantial collection. The well-written text demonstrates a sophisticated level of primary source analysis and offers multiple methodological approaches that demonstrate the variety of ways in which men’s fashion manifests itself in the cultural imaginary. Fashion plates show what is fashionable, while satirical cartoons make fun of those who take dressing to excess. Beautifully photographed historical garments and images of contemporary runway fashion models show off high-end design and construction on the idealized figure. Portrait paintings and studio photography portraits show how men and designers want to be perceived, while street photography and close-up","PeriodicalId":42364,"journal":{"name":"Dress-The Journal of the Costume Society of America","volume":"48 1","pages":"111 - 113"},"PeriodicalIF":0.4,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42223923","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 : 2022-01-02DOI: 10.1080/03612112.2022.2029024
C. Oberg
{"title":"Dress Codes: How the Laws of Fashion Made History","authors":"C. Oberg","doi":"10.1080/03612112.2022.2029024","DOIUrl":"https://doi.org/10.1080/03612112.2022.2029024","url":null,"abstract":"","PeriodicalId":42364,"journal":{"name":"Dress-The Journal of the Costume Society of America","volume":"48 1","pages":"115 - 117"},"PeriodicalIF":0.4,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47788703","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 : 2022-01-02DOI: 10.1080/03612112.2021.2004022
K. Jones
Sporting Fashion: Outdoor Girls, 1800 to 1960, a traveling exhibition jointly sponsored by the American Federation of Arts and the FIDM Museum at the Fashion Institute of Design & Merchandising and curated by Kevin L. Jones and Christina M. Johnson, made its debut at the Frick Art Museum in Pittsburgh, Pennsylvania, on July 3, 2021. The art gallery on the grounds of industrialist Henry Clay Frick’s Clayton estate was a canny choice for an exhibition that examines the dress of women of leisure as they increasingly ventured outside of the domestic sphere from the early nineteenth to the mid-twentieth century. The Frick is the exhibition’s first stop, and additional venues will follow through at least 2024. The stated curatorial mission is to “chart the cultural and material developments that allowed women to make their way outdoors” and to “reconstruct a material history of women in sport through the garments and accessories that enabled them to participate, compete, and excel.” The exhibition consists of 480 objects (some excluded at the Frick, likely due to space limitations) divided among eight themes. The themes are organized around the leisure or sporting activity for which the objects were worn—some narrow, like the evolution of bathing to swimming costume in “Making Waves,” and others broad, like “Further Afield” that ran the gamut from international travel to hunting. The clever use of mannequins in suspended animation, particularly in “Subzero Style” (FIGURE 1), addressed the problem of how one can instill movement in a static exhibition about bodies in motion. A silent-film reel of early twentieth-century women engaged in sporting events also furthered this initiative. Vitrines of sporting accessories and framed print media 1 For six other venues and dates for this traveling exhibition, see . The final venue will be the FIDM Museum in 2024.
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Pub Date : 2022-01-02DOI: 10.1080/03612112.2022.2029025
Andrew Campbell
{"title":"Queering the Subversive Stitch: Men & the Culture of Needlework","authors":"Andrew Campbell","doi":"10.1080/03612112.2022.2029025","DOIUrl":"https://doi.org/10.1080/03612112.2022.2029025","url":null,"abstract":"","PeriodicalId":42364,"journal":{"name":"Dress-The Journal of the Costume Society of America","volume":"48 1","pages":"119 - 121"},"PeriodicalIF":0.4,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49290115","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 : 2022-01-02DOI: 10.1080/03612112.2022.2020973
{"title":"Correction","authors":"","doi":"10.1080/03612112.2022.2020973","DOIUrl":"https://doi.org/10.1080/03612112.2022.2020973","url":null,"abstract":"","PeriodicalId":42364,"journal":{"name":"Dress-The Journal of the Costume Society of America","volume":"48 1","pages":"123 - 123"},"PeriodicalIF":0.4,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43835606","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 : 2022-01-02DOI: 10.1080/03612112.2022.2066899
Tina Bates
{"title":"Welcome to Vol. 48, No. 1","authors":"Tina Bates","doi":"10.1080/03612112.2022.2066899","DOIUrl":"https://doi.org/10.1080/03612112.2022.2066899","url":null,"abstract":"","PeriodicalId":42364,"journal":{"name":"Dress-The Journal of the Costume Society of America","volume":"48 1","pages":"i - ii"},"PeriodicalIF":0.4,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47374833","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 : 2022-01-02DOI: 10.1080/03612112.2022.2027666
S. Tomc
This article examines the development of sartorial visual itineraries for nativism and white nationalism in the United States between about 1840 and 1865. For scholars studying the history of racism in the United States, the documents of so-called “scientific racism” are of paramount importance. These privilege the biovisual body as a site of epistemological and ontological truth. But the first years of the nineteenth century witnessed the proliferation of racialist taxonomies based not on the physical body but on alleged manifestations of ancestral and racial spirit in dress. Using evidence from contemporary costume albums, maps, and theatre prints, this essay argues that US nativist movements took their bodily iconography from a ballooning transatlantic popular and ethnographic interest in what today we call “traditional” or “ethnic” dress, turning nativist figures into folk types, colorful characters who could represent the purity of the so-called Anglo-Saxon US people in their style of dress.
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Pub Date : 2022-01-02DOI: 10.1080/03612112.2021.2022284
Sarah Sheehan
Established in 1947, the house of Pucci is best known for its iconic prints. Yet even before the Puccimania of the Swinging Sixties, commercial sewing patterns were an important part of Pucci’s popular reception. Over the course of almost two decades, Emilio Pucci licensed his fashion designs with American pattern companies including the McCall Corporation and the Vogue Pattern Service, the independent offshoot of Vogue magazine. This preliminary overview documents how Pucci’s work was represented and marketed to home dressmakers during this period (1956–73). A look at vintage Pucci patterns in context shows how this designer licensing intersects not only with trends in luxury sportswear and textile development but also changing ideas of leisure, modernity, and Italian fashion.
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