Pub Date : 2022-01-02DOI: 10.1080/03612112.2022.2028466
Rebecca Halliday
All Dolled Up: Fashioning Cultural Expectations is an exhibition in miniature. While its purview is a cultural politics of dolls, it nonetheless resonates at the levels of the personal, the corporeal, and the affective. It couches its potent artifacts in an intimate environ. Sparse wooden flats at the entrance evoke a sense of crated containment and orient us toward the one-room exhibition space, with white partitions that frame and segment the area, illustrated with full-scale, black, pop-art outlines of furniture and fixtures that reinforce our enclosure. Each doll is housed in a glass display case for our inspection but in no instance for our tactile interaction. In his examination of dolls, marionettes, and automata as featured in the fields of fashion and art, Adam Geczy situates the doll as a beacon for our embodied anxieties, aspirations, desires, and pleasures, in its uncanniness as humanlike double or as other. The wall illustrations of domestic and retail environments imbue the dolls with a dual condition as keepsakes, as complex, intricate, and often immaculate material objects, on which we manifest attachments—as what Sara Ahmed terms happy objects, those items that “affect us in the best way”—that “take up residence within our bodily horizon,” as immediate even if untouchable. The exhibition room is divided into a series of smaller sections that evoke dwellings and retail spaces. The first sections indicate particular rooms or domains within a domestic realm, from a living room with curtained windows to an armoire with clothes and accessories—then a row of mirror-outlines, a liminal point between private and public, toilette and cosmetics counter. The domestic space presents a selection of iconic westernized dolls that for decades have informed children’s self-perception and expectations of gendered labor and comportment. Barbie—the confluence of aspiration and eroticism—is present in a reproduction of her 1959 template, sporting her black-and-white striped 1 Adam Geczy, The Artificial Body in Fashion and Art: Marionettes, Models, and Mannequins (London: Bloomsbury Academic, 2018).
《所有玩偶：塑造文化期望》是一个小型展览。虽然它的范围是玩偶的文化政治，但它仍然在个人、物质和情感层面产生了共鸣。它将其强大的人工制品放置在一个亲密的环境中。入口处稀疏的木制公寓唤起了一种板条箱式的封闭感，并将我们引向一个房间的展览空间，白色的隔板将该区域框起来并分割开来，用全尺寸、黑色、波普艺术的家具和固定装置轮廓来加强我们的封闭。每个娃娃都装在一个玻璃展示柜里，供我们检查，但在任何情况下都不能用于我们的触觉互动。在对时尚和艺术领域的玩偶、提线木偶和自动机的研究中，Adam Geczy将玩偶定位为我们所体现的焦虑、渴望、欲望和快乐的灯塔，因为它是人类的替身或其他替身。家庭和零售环境的墙壁插图赋予了玩偶作为纪念品的双重条件，作为复杂、复杂且往往完美的实物，我们在上面表现出依恋——正如萨拉·艾哈迈德所说的快乐物品，那些“以最好的方式影响我们”的物品——“在我们的身体范围内占据一席之地”，即使是不可触摸的，也是直接的。展览室被分为一系列较小的部分，唤起了住宅和零售空间的回忆。第一部分指出了家庭领域中的特定房间或领域，从带窗帘窗户的客厅到装有衣服和配饰的衣橱——然后是一排镜子轮廓，这是私人和公共、化妆品和化妆品柜台之间的分界点。国内空间展示了一系列标志性的西方化玩偶，几十年来，这些玩偶一直影响着孩子们对性别劳动和行为的自我认知和期望。芭比娃娃——渴望与情色的融合——出现在她1959年模板的复制品中，展示了她的黑白条纹1 Adam Geczy，《时尚与艺术中的人造身体：木偶、模特和人体模型》（伦敦：Bloomsbury Academic，2018）。
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Pub Date : 2022-01-02DOI: 10.1080/03612112.2022.2047363
I. Brooks-Myers
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Pub Date : 2022-01-02DOI: 10.1080/03612112.2021.2022283
H. Franklin
As a point of inspiration, a motif, and decorative element, the rose’s ubiquity in fashion is arguably unrivaled. Ravishing: The Rose in Fashion, an exhibition mounted at The Museum at FIT in New York, explored the rose as a source of inspiration for fashion. As the exhibition makes clear, the rose holds so many layered meanings that everyone can find an element of the bloom that speaks to them. In this way, the rose’s ubiquity is its power; it appears on the most delicate of debutante gowns and the most severe mourning dress. A rose is both beautiful and treacherous, elitist and democratic, fragile and resilient. It is also a symbol of love and deceit, life and death. As a starting point for an exhibition, the rose offers seemingly endless avenues of study. Co-curated by Amy de la Haye, chair of Dress History and Curatorship and joint director of the Centre for Fashion Curation at London College of Fashion, and Colleen Hill, curator of costume and accessories at MFIT, the exhibition Ravishing examined how the rose has influenced fashion and has multi-faceted layers of meaning. Over 130 objects were on display, including women’s and men’s clothing and accessories that dated from ca. 1735 to the present. The garments, which were sourced from the museum’s collection or acquired for the exhibition, were as diverse as an embroidered 1810 gown to a 2019 catwalk look from the New York menswear label Nihl. The exhibition was divided into two sections, arranged to resemble gardens. The first gallery was a “rose garden of hats.” Each hat was placed upon a green 1 Amy de la Haye, Ravishing: The Rose in Fashion (London: Yale University Press, 2020), 12.
作为灵感、主题和装饰元素，玫瑰在时尚中的无处不在可以说是无与伦比的。《狂欢：时尚中的玫瑰》是在纽约FIT博物馆举办的一个展览，探讨了玫瑰作为时尚灵感的来源。正如展览所表明的那样，玫瑰具有如此多的层次意义，以至于每个人都能找到与之对话的花朵元素。这样一来，玫瑰的无处不在就是它的力量；它出现在最精致的初出茅庐礼服和最庄重的丧服上。玫瑰既美丽又险恶，既精英又民主，既脆弱又坚韧。它也是爱与欺骗、生与死的象征。作为展览的起点，玫瑰似乎提供了无尽的研究途径。该展览由伦敦时装学院服装历史与策展人、时尚策展中心联合主任Amy de la Haye和MFIT服装与配饰策展人Colleen Hill共同策划，研究了玫瑰如何影响时尚并具有多方面的意义。展出了130多件物品，包括约1735年至今的男女服装和配饰。这些服装来自博物馆的藏品或为展览而获得，从1810年的刺绣礼服到2019年纽约男装品牌Nihl的T台造型，种类繁多。展览分为两个部分，布置得像花园。第一个画廊是一个“帽子的玫瑰园”。每顶帽子都放在绿色的1 Amy de la Haye，《狂欢：时尚中的玫瑰》（伦敦：耶鲁大学出版社，2020），12。
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Pub Date : 2021-11-21DOI: 10.1080/03612112.2021.1988272
Forrest D. Pass
A Masonic apron in the collection of the Canadian Museum of History has an unusual story: produced in rural Vermont in the 1820s, seven decades later it came into the possession of Ralph Lawton Broadbent, a Canadian civil servant and Mason. This research report proposes a biography for the apron in the intervening years and hints at the multiple possible meanings that Masons might attribute to their intriguing ceremonial garments. An esoteric symbol of lodge membership and fictive brotherhood, a Masonic apron also could symbolize other relationships; in this example, the apron appears to have descended to its final owner through a female line and thus may represent the bonds between fathers-in-law and sons-in-law
{"title":"“Brothers-in-Law”","authors":"Forrest D. Pass","doi":"10.1080/03612112.2021.1988272","DOIUrl":"https://doi.org/10.1080/03612112.2021.1988272","url":null,"abstract":"A Masonic apron in the collection of the Canadian Museum of History has an unusual story: produced in rural Vermont in the 1820s, seven decades later it came into the possession of Ralph Lawton Broadbent, a Canadian civil servant and Mason. This research report proposes a biography for the apron in the intervening years and hints at the multiple possible meanings that Masons might attribute to their intriguing ceremonial garments. An esoteric symbol of lodge membership and fictive brotherhood, a Masonic apron also could symbolize other relationships; in this example, the apron appears to have descended to its final owner through a female line and thus may represent the bonds between fathers-in-law and sons-in-law","PeriodicalId":42364,"journal":{"name":"Dress-The Journal of the Costume Society of America","volume":"48 1","pages":"21 - 31"},"PeriodicalIF":0.4,"publicationDate":"2021-11-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47246392","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 : 2021-11-12DOI: 10.1080/03612112.2021.1985834
C. Lawry
This research report examines a contemporary debate within the ballet world about Gaynor Minden pointe shoes. Gaynor Minden represents the first disruptive innovation to pointe shoe designs in 200 years. These innovative shoes reduce the severe pain of learning to dance on pointe, but ballet traditionalists disapprove of Gaynor Minden on the grounds that they dilute the pointe tradition. This report presents an opposing view through an historical analysis and the recontextualization of pointe shoes as invented traditions. This analysis shows that pointe shoes are morphological and have undergone constant reinvention throughout ballet history. Diverse inventors, including choreographers, dancers, and shoemakers, commodified and mystified pointe shoes, linking the pain of dancing on pointe with aesthetic and social values. Hence, Minden shoes do not dilute the tradition of dancing on pointe insomuch as threaten pointe shoes as markers of exclusivity within ballet.
{"title":"Pointe Shoes","authors":"C. Lawry","doi":"10.1080/03612112.2021.1985834","DOIUrl":"https://doi.org/10.1080/03612112.2021.1985834","url":null,"abstract":"This research report examines a contemporary debate within the ballet world about Gaynor Minden pointe shoes. Gaynor Minden represents the first disruptive innovation to pointe shoe designs in 200 years. These innovative shoes reduce the severe pain of learning to dance on pointe, but ballet traditionalists disapprove of Gaynor Minden on the grounds that they dilute the pointe tradition. This report presents an opposing view through an historical analysis and the recontextualization of pointe shoes as invented traditions. This analysis shows that pointe shoes are morphological and have undergone constant reinvention throughout ballet history. Diverse inventors, including choreographers, dancers, and shoemakers, commodified and mystified pointe shoes, linking the pain of dancing on pointe with aesthetic and social values. Hence, Minden shoes do not dilute the tradition of dancing on pointe insomuch as threaten pointe shoes as markers of exclusivity within ballet.","PeriodicalId":42364,"journal":{"name":"Dress-The Journal of the Costume Society of America","volume":"48 1","pages":"55 - 64"},"PeriodicalIF":0.4,"publicationDate":"2021-11-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41611926","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 : 2021-10-26DOI: 10.1080/03612112.2021.1967606
Kelly L. Reddy-Best, Kyra G. Streck, Jennifer Farley Gordon
Socially conscious fashion entrepreneurs in the twenty-first century built many of the first visibly queer- and trans-focused fashion brands. In this paper, we critically examine nine of these brands that produced and distributed undergarments or other objects worn near or against the skin, such as binders, packers, underwear, lingerie, and bras. We draw upon oral histories with the brand directors, objects from each company, news articles, and online content. The brands emerged during significant socio-cultural and political changes and simultaneously engaged in dismantling and queering the past oppressive notions of the fashion industry. Unlike mainstream representation that often has positioned fashionable queer people as thin, cisgender, and white, these brands embraced an intersectional and social-justice lens throughout their business processes. The history of these brands demonstrates the interconnected complexity of fashioning queer and trans identities, fashion commodities, and fashion activist philosophies in the twenty-first-century capitalist marketplace.
{"title":"Visibly Queer- and Trans-Fashion Brands and Retailers in the Twenty-First Century","authors":"Kelly L. Reddy-Best, Kyra G. Streck, Jennifer Farley Gordon","doi":"10.1080/03612112.2021.1967606","DOIUrl":"https://doi.org/10.1080/03612112.2021.1967606","url":null,"abstract":"Socially conscious fashion entrepreneurs in the twenty-first century built many of the first visibly queer- and trans-focused fashion brands. In this paper, we critically examine nine of these brands that produced and distributed undergarments or other objects worn near or against the skin, such as binders, packers, underwear, lingerie, and bras. We draw upon oral histories with the brand directors, objects from each company, news articles, and online content. The brands emerged during significant socio-cultural and political changes and simultaneously engaged in dismantling and queering the past oppressive notions of the fashion industry. Unlike mainstream representation that often has positioned fashionable queer people as thin, cisgender, and white, these brands embraced an intersectional and social-justice lens throughout their business processes. The history of these brands demonstrates the interconnected complexity of fashioning queer and trans identities, fashion commodities, and fashion activist philosophies in the twenty-first-century capitalist marketplace.","PeriodicalId":42364,"journal":{"name":"Dress-The Journal of the Costume Society of America","volume":"48 1","pages":"33 - 53"},"PeriodicalIF":0.4,"publicationDate":"2021-10-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48189728","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 : 2021-07-03DOI: 10.1080/03612112.2021.1957319
Sara B. Marcketti
{"title":"Costume Society of America Fellow 2021 Patricia Hunt-Hurst","authors":"Sara B. Marcketti","doi":"10.1080/03612112.2021.1957319","DOIUrl":"https://doi.org/10.1080/03612112.2021.1957319","url":null,"abstract":"","PeriodicalId":42364,"journal":{"name":"Dress-The Journal of the Costume Society of America","volume":"47 1","pages":"229 - 230"},"PeriodicalIF":0.4,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47053680","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 : 2021-07-03DOI: 10.1080/03612112.2021.1966229
K. Depauw, K. Morris, Linda Pisano, Eulanda A. Sanders, Sarah Scaturro, Kelly L. Reddy-Best, C. Keist
The Costume Society of America (CSA) Scholars’ Roundtable Honor committee is charged with nominating scholars to lead a discussion at the national symposium that challenges the organization members to think about future possibilities. In 2021, five CSA Scholars’ Roundtable Honorees (Karen DePauw, Kristen Morris, Linda Pisano, Eulanda Sanders, and Sarah Scaturro) discussed the purpose, place, and future of design and curatorial scholarship. In this session, Kelly L. Reddy-Best and Carmen Keist, 2019 honorees, moderated the session. Carmen began by asking the panelists questions such as “In what ways can CSA be flexible to allow for new directions in scholarship?” This year, CSA held the symposium digitally due to COVID-19. Following the pre-prepared questions, individuals from the audience offered comments and questions to the panel via the chat box. In this paper, we provide a verbatim transcription of the session.
美国服装协会(CSA)学者圆桌荣誉委员会负责提名学者在全国研讨会上领导讨论，挑战组织成员思考未来的可能性。2021年，五位CSA学者圆桌会议获奖者(Karen DePauw, Kristen Morris, Linda Pisano, Eulanda Sanders和Sarah Scaturro)讨论了设计和策展奖学金的目的、位置和未来。在本次会议上，2019年的获奖者凯利·l·雷迪·贝斯特和卡门·凯斯特主持了会议。卡门首先向小组成员提出了一些问题，比如“CSA可以通过哪些方式灵活地为学术研究开辟新的方向?”今年，由于新冠肺炎疫情，CSA以数字方式举办了研讨会。在事先准备好的问题之后，来自观众的个人通过聊天框向专家组提供评论和问题。在本文中，我们逐字提供了会议的抄本。
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Pub Date : 2021-07-03DOI: 10.1080/03612112.2021.1929638
N. Turner
Lucy Adlington sets the theme of Women’s Lives and Clothes in WW2: Ready for Action with this statement predicting the contribution of women all over the world during the Second World War. Women in military service or at home played a greater role than in any war in the past. Adlington has done a tremendous amount of research to assemble this fascinating compilation of stories of women’s courage, commitment, and ingenuity to survive and defeat the enemy. The theme of clothing is woven throughout the women’s stories. Adlington explains that clothes are
露西·阿德林顿（Lucy Adlington）为《二战中女性的生活和衣服：行动准备》（Women’s Lives and Clothings in WW2:Ready for Action）设定了主题，她预测了世界各地女性在第二次世界大战期间的贡献。服役或在家的妇女比过去任何一场战争都发挥了更大的作用。阿德林顿做了大量的研究，汇集了这本引人入胜的女性生存和击败敌人的勇气、承诺和智慧的故事汇编。服装的主题贯穿于妇女的故事之中。Adlington解释说，衣服
{"title":"Women’s Lives and Clothes in WW2: Ready for Action","authors":"N. Turner","doi":"10.1080/03612112.2021.1929638","DOIUrl":"https://doi.org/10.1080/03612112.2021.1929638","url":null,"abstract":"Lucy Adlington sets the theme of Women’s Lives and Clothes in WW2: Ready for Action with this statement predicting the contribution of women all over the world during the Second World War. Women in military service or at home played a greater role than in any war in the past. Adlington has done a tremendous amount of research to assemble this fascinating compilation of stories of women’s courage, commitment, and ingenuity to survive and defeat the enemy. The theme of clothing is woven throughout the women’s stories. Adlington explains that clothes are","PeriodicalId":42364,"journal":{"name":"Dress-The Journal of the Costume Society of America","volume":"47 1","pages":"225 - 227"},"PeriodicalIF":0.4,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/03612112.2021.1929638","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46360712","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 : 2021-07-03DOI: 10.1080/03612112.2021.1964251
Tina Bates
{"title":"Welcome to Vol. 47, No. 2","authors":"Tina Bates","doi":"10.1080/03612112.2021.1964251","DOIUrl":"https://doi.org/10.1080/03612112.2021.1964251","url":null,"abstract":"","PeriodicalId":42364,"journal":{"name":"Dress-The Journal of the Costume Society of America","volume":"47 1","pages":"i - i"},"PeriodicalIF":0.4,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48742842","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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