Pub Date : 2021-07-03DOI: 10.1080/03612112.2021.1934267
Laura J. Ping
This article analyzes the history of two extant bloomer costumes from the 1850 s, one in the collections of the San Diego History Center and the other in the Cortland County, New York Historical Society. An analysis of the two bloomer costumes reveals two different styles of dress-reform outfits worn by women during this era. Biographical information on the women who owned these outfits expands upon the reasons the wearers might have chosen one design over another. Through a material culture analysis of these outfits and a textual analysis of the history of dress reform, I argue that for a variety of reasons nineteenth-century women might have owned, but perhaps not worn, a bloomer costume.
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Pub Date : 2021-07-03DOI: 10.1080/03612112.2021.1929586
M. Gayne
In his “Otherworldly Prologue,” the Mexican essayist, poet, and writer Luigi Amara tells us that his collection of short essays, The Wig: A Hairbrained History, might well be considered “nothing more than a rather bulky footnote” (10) to this century-old, twelveword sentence crafted by the Mexican economist, professional journalist, and Baudelaire-inspired weird fiction author Carlos Diaz Dufoo Jr. Amara refers to Dufoo’s epigram as an “authentic oneline novel” (10), and by the end of his book, the idea of it being a footnote seems fully viable. Readers, general and specialized, will delight in many of the thirty-two short essays with illustrations contained in this collection. Amara wanders through the world of the wig from the past, to the present, to the past, to the future, and to the galaxy, sometimes within the very same lyrically pleasing paragraph. The book bears no relation to other popular culture texts that seek to offer a micro-global history of an object, such as Tom Standage’s A History of the World in Six Glasses. Nor is it comparable to scholarly works that detail largescale global social processes through the lens of a single fabric or a Walmart Tshirt, such as Giorgio Riello’s Cotton: The Fabric That Made the Modern World or Pietra Rivoli’s The Travels of a T-Shirt in the Global Economy. More than anything, Amara offers a series of dazzling opportunities to discover his creative intellectual process. Given his command of his subject and hefty range of analytical tools to think reflexively across the historical landscape of western civilization, this collection implies a journey
{"title":"The Wig: A Hairbrained History","authors":"M. Gayne","doi":"10.1080/03612112.2021.1929586","DOIUrl":"https://doi.org/10.1080/03612112.2021.1929586","url":null,"abstract":"In his “Otherworldly Prologue,” the Mexican essayist, poet, and writer Luigi Amara tells us that his collection of short essays, The Wig: A Hairbrained History, might well be considered “nothing more than a rather bulky footnote” (10) to this century-old, twelveword sentence crafted by the Mexican economist, professional journalist, and Baudelaire-inspired weird fiction author Carlos Diaz Dufoo Jr. Amara refers to Dufoo’s epigram as an “authentic oneline novel” (10), and by the end of his book, the idea of it being a footnote seems fully viable. Readers, general and specialized, will delight in many of the thirty-two short essays with illustrations contained in this collection. Amara wanders through the world of the wig from the past, to the present, to the past, to the future, and to the galaxy, sometimes within the very same lyrically pleasing paragraph. The book bears no relation to other popular culture texts that seek to offer a micro-global history of an object, such as Tom Standage’s A History of the World in Six Glasses. Nor is it comparable to scholarly works that detail largescale global social processes through the lens of a single fabric or a Walmart Tshirt, such as Giorgio Riello’s Cotton: The Fabric That Made the Modern World or Pietra Rivoli’s The Travels of a T-Shirt in the Global Economy. More than anything, Amara offers a series of dazzling opportunities to discover his creative intellectual process. Given his command of his subject and hefty range of analytical tools to think reflexively across the historical landscape of western civilization, this collection implies a journey","PeriodicalId":42364,"journal":{"name":"Dress-The Journal of the Costume Society of America","volume":"47 1","pages":"221 - 223"},"PeriodicalIF":0.4,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42303268","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: 10.1080/03612112.2021.1932113
Michael Mamp
This research documents the fashioning of Charles Pierce, a prominent female impersonator in the mid-to-late twentieth century. During his career of over forty years, Pierce delivered acclaimed comedic impressions of gay icons such as Bette Davis and Katharine Hepburn. This paper contextualizes and interprets the development of Pierce’s cross-dressing from tuxedo and a few woman’s fashion accessories (to avoid arrest) to full drag. Pierce’s career as self-styled “male actress” coincided with the gay liberation movement. Much has been written about drag, less about female impersonators, and no known research examining their costumes. This article thus provides a rare analysis of the material culture of female impersonation through Pierce’s costumes and accessories at the ONE National Gay and Lesbian Archives at the University of Southern California plus the Charles Pierce papers at the Billy Rose Theater Division of the New York Library for the Performing Arts.
{"title":"Fashioning a “Male Actress”","authors":"Michael Mamp","doi":"10.1080/03612112.2021.1932113","DOIUrl":"https://doi.org/10.1080/03612112.2021.1932113","url":null,"abstract":"This research documents the fashioning of Charles Pierce, a prominent female impersonator in the mid-to-late twentieth century. During his career of over forty years, Pierce delivered acclaimed comedic impressions of gay icons such as Bette Davis and Katharine Hepburn. This paper contextualizes and interprets the development of Pierce’s cross-dressing from tuxedo and a few woman’s fashion accessories (to avoid arrest) to full drag. Pierce’s career as self-styled “male actress” coincided with the gay liberation movement. Much has been written about drag, less about female impersonators, and no known research examining their costumes. This article thus provides a rare analysis of the material culture of female impersonation through Pierce’s costumes and accessories at the ONE National Gay and Lesbian Archives at the University of Southern California plus the Charles Pierce papers at the Billy Rose Theater Division of the New York Library for the Performing Arts.","PeriodicalId":42364,"journal":{"name":"Dress-The Journal of the Costume Society of America","volume":"47 1","pages":"121 - 137"},"PeriodicalIF":0.4,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/03612112.2021.1932113","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47318677","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: 10.1080/03612112.2021.1957323
Deborah A. Brothers
{"title":"Costume Society of America Fellow 2021 Gayle Strege","authors":"Deborah A. Brothers","doi":"10.1080/03612112.2021.1957323","DOIUrl":"https://doi.org/10.1080/03612112.2021.1957323","url":null,"abstract":"","PeriodicalId":42364,"journal":{"name":"Dress-The Journal of the Costume Society of America","volume":"47 1","pages":"231 - 232"},"PeriodicalIF":0.4,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45801044","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 : 2021-03-29DOI: 10.1080/03612112.2021.1877975
D. Green, N. Breen
From 1841 to 1844, the Auburn Prison in New York State, now the Auburn Correctional Facility, was the location of an early experiment in the manufacture of sewing silk, a type of thread used in garment production. Incarcerated men worked in throwing mills to transform cocoons into sewing silk; they reeled, combed, and dyed silk filaments, added twist, and wound the thread onto bobbins. The Auburn Prison agent solicited cocoons from silk farmers and thereby supported an incipient local sericulture cottage industry. By 1843 the prison had become the leading buyer of raw silk cocoons in the United States. In this report, we chronicle the rise and fall of silk production in the Auburn Prison within the context of the Auburn Prison System, also known as the “Congregate System,” and a larger “silk mania” across the northeastern United States in the second quarter of the nineteenth century.
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Pub Date : 2021-01-02DOI: 10.1080/03612112.2021.1855849
Elaine L. Pedersen
The Dangers of Fashion: Towards Ethical and Sustainable Solutions provides an overview of past and current fashionrelated dangers. The editors, Sara B. Marcketti from Iowa State University and Elena E. Karpova from University of North Carolina at Greensboro, have developed and organized an informative and thought-provoking book. Though a wealth of scholarly and popular literature on most subjects found in this book exists, The Dangers of Fashion presents a new view. The book examines the breadth of individuals and communities who are touched and often harmed because of the fashion industry or its products. It covers fashion-production choices and their consequences ranging across the textile and apparel pipeline from fiber production to retailing, along with the consequences of fashion product consumption and the disposal of fashion products. The book contains four sections: “The Moral and Ethical Dangers in Fashion,” “The Dangers of Making Fashion,” “The Dangers of Consuming Fashion,” and “The Dangers of Caring for and Disposing of Fashion.” Each section includes three to five chapters that range from eleven to twenty-one pages including references. Because of the variety of subjects, the book offers great breadth but not depth. The targeted reader
《时尚的危险:走向道德和可持续的解决方案》概述了过去和当前与时尚相关的危险。两位编辑，来自爱荷华州立大学的Sara B. Marcketti和来自北卡罗来纳大学格林斯博罗分校的Elena E. Karpova，已经开发并组织了一本信息丰富且发人深省的书。虽然在这本书中发现的大多数主题都有丰富的学术和流行文献，但《时尚的危险》提出了一个新的观点。这本书考察了因时尚产业或其产品而受到影响并经常受到伤害的个人和社区的广度。它涵盖了从纤维生产到零售的整个纺织品和服装管道的时尚生产选择及其后果，以及时尚产品消费和时尚产品处置的后果。这本书包括四个部分:“时尚中的道德和伦理危险”、“制作时尚的危险”、“消费时尚的危险”、“关心和处理时尚的危险”。每一部分包括三到五章，从十一到二十一页不等，包括参考文献。由于主题的多样性，这本书提供了很大的广度而不是深度。目标读者
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Pub Date : 2021-01-02DOI: 10.1080/03612112.2020.1762345
Josée Chartrand
This study explores selected costumes worn by founding members of the early twentieth-century Pavley-Oukrainsky Ballet based in Chicago and a variety of historical documents pertaining to the company from the collection of the Museum of Performance and Design, San Francisco, to explore how the company used exotic influences as inspiration, which helped to develop a new genre of ballet in the United States. These sources address how the analysis of costumes can shed light on the historical significance of the Pavley-Oukrainsky Ballet, an otherwise little-known American ballet troupe. Using a material culture methodology, two garments are explored as case studies: a loincloth and a torso ornament. The descriptions, deductions, and speculations of each artifact are combined with primary and secondary sources about the company to contextualize and understand the role of dress in the Pavley-Oukrainsky Ballet.
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Pub Date : 2021-01-02DOI: 10.1080/03612112.2021.1855853
Kelly L. Reddy-Best
{"title":"In Memoriam","authors":"Kelly L. Reddy-Best","doi":"10.1080/03612112.2021.1855853","DOIUrl":"https://doi.org/10.1080/03612112.2021.1855853","url":null,"abstract":"","PeriodicalId":42364,"journal":{"name":"Dress-The Journal of the Costume Society of America","volume":"47 1","pages":"119 - 120"},"PeriodicalIF":0.4,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/03612112.2021.1855853","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43540716","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 : 2021-01-02DOI: 10.1080/03612112.2021.1887688
J. Ayres
In November 2018, CNN, Teen Vogue, The Hill, and even Fox News reported that Alexandria Ocasio-Cortez (AOC) had loaned her shoes to a fashion exhibit at Cornell University (FIGURE 1). Worn-through shoes would typically be excluded from fashion collections, except that this pair had a special significance: the dirt and holes illustrated the miles of New York City blocks AOC walked as she went door-to-door gathering signatures for her campaign for New York’s Fourteenth Congressional District. Her shoes are also a refreshing testament to democracy—she did not buy her votes or seat; rather, she devoted the energy and put in the painstaking work of talking to the everyday-voting public to marshal support for her political bid. Thus, AOC’s shoes encapsulate the heart and soul of this exhibition and fashion studies in general: clothes matter, their materiality and the way they are worn (or worn-through) matter, and they matter profoundly for what we think is possible. This exhibition tells the story of how women, from the end of the nineteenth century to the present, have used dress and accouterments indirectly in roles that challenged the status quo and directly to assert their political rights and take their rightful positions in public spaces. Professor Denise Nicole Green, faculty advisor of the exhibition, explained in an interview that the overall aim was to showcase the concrete and specific material culture and garments of women’s lives to illustrate how fashion is a vehicle for political change and how “people who are marginalized use Promotional material for the exhibition featuring an archival photograph of Coretta Scott King speaking at a labor rally. Courtesy of the Kheel Center for LaborManagement Documentation & Archives at Cornell University
2018年11月，CNN、《Teen Vogue》、The Hill甚至福克斯新闻都报道了亚历山大·奥卡西奥·科尔特斯(Alexandria Ocasio-Cortez)将她的鞋子借到了康奈尔大学的一个时装展览上(图1)。穿破的鞋子通常被排除在时装系列之外，但这双鞋有一个特殊的意义:这双鞋上的污垢和洞表明了AOC在挨家挨户为纽约第十四届国会选区的竞选活动收集签名时走过的纽约市街区。她的鞋子也是民主令人耳目一新的证明——她没有花钱买选票或席位;相反，她投入了精力，投入了艰苦的工作，与日常投票的公众交谈，以争取对她政治竞选的支持。因此，AOC的鞋子概括了这次展览和时尚研究的核心和灵魂:衣服很重要，它们的物质性和穿着(或磨损)的方式很重要，它们对我们认为可能发生的事情有着深远的影响。本次展览讲述了从19世纪末到现在，女性如何间接地在挑战现状的角色中使用服装和配饰，并直接维护她们的政治权利，并在公共空间中占据应有的地位。展览的指导老师丹尼斯·妮可·格林(Denise Nicole Green)教授在接受采访时解释说，展览的总体目标是展示女性生活中具体而具体的物质文化和服装，以说明时尚是如何成为政治变革的工具，以及“被边缘化的人如何利用科蕾塔·斯科特·金(Coretta Scott King)在劳工集会上讲话的档案照片作为展览的宣传材料。”康奈尔大学基尔劳动管理文档与档案中心提供
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Pub Date : 2021-01-02DOI: 10.1080/03612112.2021.1872973
Laura Beltrán-Rubio
In Reading Fashion in Art, Ingrid E. Mida offers a guide to analyzing representations of dress in the visual arts. She argues that “dress can be read as an artistic tool of expression that can be unraveled to reveal something about the ideas that were percolating in society at that time” (15). Such ideas include the shared understandings of gender, beauty, power, status, race, and ethnicity that form the context in which the works of art are created. Because of the importance of representations of fashion in the communication of aesthetic, social, and cultural norms and ideals, close-looking at dress in art becomes a tool for the study of both art history and dress history, as well as other related disciplines. This beautifully illustrated book thus offers a series of guidelines for the reader to adopt in the study of works of art depicting human bodies, both dressed and undressed. The objective of the book is to offer a method to engage in the “slow approach to seeing” that Mida has championed through her scholarship and to teach the readers how to “confidently develop a critical analysis of what they see” in art (9). Through the combination of a checklist-based approach and a series of case studies that offer interpretations achieved using Mida’s proposed methodology, the book is a powerful handbook for analyzing the politics of representation of dress in art. Reading Fashion in Art is divided into ten chapters with an introduction, a coda, and three appendices with the checklists for the process of “reading” fashion in art. The book is richly illustrated with images printed in colors that often fill an entire page. Each chapter contains several images of the works of art being analyzed as well as related works of art, drawings, costume plates, and photographs of historical garments. Mida introduces her book with an analysis of what is arguably one of the most famously dressed images in the history of art—Elisabeth Louise Vig ee Le Brun’s portrait of Marie Antoinette in a Chemise Dress (1783). Using this painting as a starting point, Mida offers a justification for the importance of analyzing representations of fashioned
在《阅读艺术中的时尚》一书中，Ingrid E.Mida提供了一份分析视觉艺术中服装表现的指南。她认为，“连衣裙可以被解读为一种艺术表达工具，可以被解开，以揭示当时社会中渗透的思想”（15）。这些想法包括对性别、美、权力、地位、种族和民族的共同理解，这些理解构成了艺术作品创作的背景。由于时尚表征在美学、社会和文化规范与理想交流中的重要性，密切关注艺术中的服饰成为研究艺术史、服饰史以及其他相关学科的工具。因此，这本插图精美的书为读者提供了一系列指导方针，供读者在研究描绘人体的艺术作品时采用，无论是穿衣服还是脱衣服。这本书的目的是提供一种方法，让Mida通过她的奖学金倡导的“慢视角”参与进来，并教读者如何在艺术中“自信地对他们所看到的东西进行批判性分析”（9）。通过基于清单的方法和一系列案例研究的结合，这些案例研究提供了使用米达提出的方法所实现的解释，这本书是一本分析艺术中服装表现政治的有力手册，以及三个附录，其中列出了艺术中“阅读”时尚的过程清单。这本书的插图丰富，用彩色印刷的图像经常占据整页。每一章都包含了被分析的艺术作品的几个图像，以及相关的艺术作品、绘画、服装板和历史服装的照片。米达在介绍她的书时分析了艺术史上最著名的穿着形象之一——伊丽莎白·路易丝·维吉·勒布伦（Elisabeth Louise Vig ee Le Brun）的玛丽·安托瓦内特（Marie Antoinette）的化学连衣裙肖像（1783年）。以这幅画为出发点，米达为分析造型表现的重要性提供了理由
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