Pub Date : 2022-01-02DOI: 10.1080/00404969.2022.2193080
Kathrin Colburn
images are offered as decoration rather than evidence, having little to do with the people and events discussed in the book. Meanwhile, other images referenced in the text are not included at all. Yet Block should be commended for producing a tome that is as readable as it is scholarly. She avoids excessive jargon and manages to make detailed discussions of tariffs and bankruptcies interesting, if not exciting. Though the book is densely researched—piecing together clues gleaned from advertisements, directories, fashion plates, invoices and diaries—it is accessible due to its tight structure and clear argumentation, only occasionally lapsing into pedantic laundry lists of names and addresses. Above all, Dressing Up makes the remote, rarefied world of the Gilded Age immediately relevant and relatable in a way that HBO’s prestige period drama of the same name never managed to do. Alva Vanderbilt’s excitement over the twiceyearly arrival of shipments of French clothing would be right at home in the age of YouTube ‘unboxing’ videos. The mobile studios’ society photographers set up to capture the elaborate costumes worn at masked balls were an early iteration of Instagram. And leading hairdresser Lenth eric’s temporary summer outposts in Aix-les-Bains and Monte Carlo were, essentially, pop-up shops. In capitalism as in fashion, everything old is new again.
图像是作为装饰而非证据提供的，与书中讨论的人物和事件几乎没有关系。同时，文本中引用的其他图像根本不包括在内。然而，布洛克出版了一本可读性强、学术性强的大部头著作，值得称赞。她避免了过多的行话，并设法使关税和破产的详细讨论变得有趣，如果不是令人兴奋的话。尽管这本书经过了深入的研究——将从广告、目录、时尚版、发票和日记中收集到的线索拼凑在一起——但由于其紧凑的结构和清晰的论证，它是可以访问的，只是偶尔会陷入迂腐的姓名和地址清单中。最重要的是，《盛装打扮》让镀金时代这个遥远而稀薄的世界立即变得相关起来，这是HBO的同名声望时期电视剧从未做到的。阿尔瓦·范德比尔特对法国服装每两次到货的兴奋，在YouTube“开箱”视频的时代将如出一辙。移动工作室的社会摄影师们为拍摄蒙面舞会上精心制作的服装而设立，这是Instagram的早期迭代。著名理发师Lenth eric在Aix les Bains和蒙特卡洛的夏季临时分店基本上都是快闪店。在资本主义和时尚中，一切旧的东西都是新的。
{"title":"Woven Tapestry: Guidelines for Conservation","authors":"Kathrin Colburn","doi":"10.1080/00404969.2022.2193080","DOIUrl":"https://doi.org/10.1080/00404969.2022.2193080","url":null,"abstract":"images are offered as decoration rather than evidence, having little to do with the people and events discussed in the book. Meanwhile, other images referenced in the text are not included at all. Yet Block should be commended for producing a tome that is as readable as it is scholarly. She avoids excessive jargon and manages to make detailed discussions of tariffs and bankruptcies interesting, if not exciting. Though the book is densely researched—piecing together clues gleaned from advertisements, directories, fashion plates, invoices and diaries—it is accessible due to its tight structure and clear argumentation, only occasionally lapsing into pedantic laundry lists of names and addresses. Above all, Dressing Up makes the remote, rarefied world of the Gilded Age immediately relevant and relatable in a way that HBO’s prestige period drama of the same name never managed to do. Alva Vanderbilt’s excitement over the twiceyearly arrival of shipments of French clothing would be right at home in the age of YouTube ‘unboxing’ videos. The mobile studios’ society photographers set up to capture the elaborate costumes worn at masked balls were an early iteration of Instagram. And leading hairdresser Lenth eric’s temporary summer outposts in Aix-les-Bains and Monte Carlo were, essentially, pop-up shops. In capitalism as in fashion, everything old is new again.","PeriodicalId":43311,"journal":{"name":"TEXTILE HISTORY","volume":"53 1","pages":"118 - 119"},"PeriodicalIF":1.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49419871","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"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: 10.1080/00404969.2022.2193081
R. Hamilton
larly useful in regard to establishing processes to minimise the effects of agents of deterioration (such as pests, pollutants, light), for example, implementing a regular gallery maintenance program and monitoring light levels. An essential part of the book is the section on condition surveys and treatment methodologies. Following a philosophy of minimal intervention, Marko guides the reader through the process of making treatment decisions. She outlines the objectives to be considered in determining appropriate cleaning methods, and in developing options for structural support and display. This discussion also covers conservation stitching and infill techniques used to compensate for loss—methods that reinstate images to enhance the visual presentation of a tapestry. Marko views previous interventions as part of the history of an object—a philosophy that is now generally accepted in the field of textile conservation. When relevant, Marko advocates strengthening weakened historical repairs with stitching techniques. She carefully considers the removal of previous interventions on a case-by-case basis. For example, if there are repairs, restorations or alterations that are causing distortion and undermining the physical stability of a tapestry, these could be removed. Toward the end of the book, Marko expertly illustrates the topics discussed in previous chapters through twenty case studies. Each highlights a specific conservation challenge and presents accessible directions for the treatment strategies Marko and her team employed (it is clear from her presentation that teamwork is integral to the successful outcome of a project). Here, as throughout the book, she uses images to communicate the elements of the intricate and laborious procedures involved in conserving tapestries. Marko shares a wealth of information in this seminal publication. The book concludes with appendices on materials and equipment used in conservation treatments. The appendices also include examples of standard procedures such as condition reporting and documentation, which are seen as obligatory for the fulfilment of the conservator’s responsibility to preserve findings for the future, and to create a foundation for productive conservation and curatorial discussions. The glossary, index and bibliography provide further helpful resources to guide the reader through the rich technical content of the book. Woven Tapestry: Guidelines for Conservation is an important contribution to the field of textile conservation. The book is an essential resource not only for experts in the field, but for beginners as well. Indeed, it is accessible to any reader with an interest in the preservation of this highly complex and technically sophisticated art form.
{"title":"Textiles in Burman Culture","authors":"R. Hamilton","doi":"10.1080/00404969.2022.2193081","DOIUrl":"https://doi.org/10.1080/00404969.2022.2193081","url":null,"abstract":"larly useful in regard to establishing processes to minimise the effects of agents of deterioration (such as pests, pollutants, light), for example, implementing a regular gallery maintenance program and monitoring light levels. An essential part of the book is the section on condition surveys and treatment methodologies. Following a philosophy of minimal intervention, Marko guides the reader through the process of making treatment decisions. She outlines the objectives to be considered in determining appropriate cleaning methods, and in developing options for structural support and display. This discussion also covers conservation stitching and infill techniques used to compensate for loss—methods that reinstate images to enhance the visual presentation of a tapestry. Marko views previous interventions as part of the history of an object—a philosophy that is now generally accepted in the field of textile conservation. When relevant, Marko advocates strengthening weakened historical repairs with stitching techniques. She carefully considers the removal of previous interventions on a case-by-case basis. For example, if there are repairs, restorations or alterations that are causing distortion and undermining the physical stability of a tapestry, these could be removed. Toward the end of the book, Marko expertly illustrates the topics discussed in previous chapters through twenty case studies. Each highlights a specific conservation challenge and presents accessible directions for the treatment strategies Marko and her team employed (it is clear from her presentation that teamwork is integral to the successful outcome of a project). Here, as throughout the book, she uses images to communicate the elements of the intricate and laborious procedures involved in conserving tapestries. Marko shares a wealth of information in this seminal publication. The book concludes with appendices on materials and equipment used in conservation treatments. The appendices also include examples of standard procedures such as condition reporting and documentation, which are seen as obligatory for the fulfilment of the conservator’s responsibility to preserve findings for the future, and to create a foundation for productive conservation and curatorial discussions. The glossary, index and bibliography provide further helpful resources to guide the reader through the rich technical content of the book. Woven Tapestry: Guidelines for Conservation is an important contribution to the field of textile conservation. The book is an essential resource not only for experts in the field, but for beginners as well. Indeed, it is accessible to any reader with an interest in the preservation of this highly complex and technically sophisticated art form.","PeriodicalId":43311,"journal":{"name":"TEXTILE HISTORY","volume":"53 1","pages":"119 - 121"},"PeriodicalIF":1.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42369694","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"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: 10.1080/00404969.2022.2221145
{"title":"Pasold Research Fund/Taylor & Francis Textile History Open Access First Publication Award","authors":"","doi":"10.1080/00404969.2022.2221145","DOIUrl":"https://doi.org/10.1080/00404969.2022.2221145","url":null,"abstract":"","PeriodicalId":43311,"journal":{"name":"TEXTILE HISTORY","volume":"53 1","pages":"5 - 5"},"PeriodicalIF":1.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47183199","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"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: 10.1080/00404969.2022.2194132
A. Balda
The history of Spanish fashion, especially between the sixteenth and nineteenth centuries, has been studied in relative depth. However, Spanish fashion of the twentieth and twenty-first centuries has not received the same attention and still needs to be developed as a field of research. Fashioning Spain: From Mantillas to Rosal ıa approaches this period in Spanish fashion not just from fashion history, but from a broad and heterogeneous perspective including fields spanning cinema, photography, music, underground movements and museography. This edited volume of eight articles is divided into four parts. The first, ‘Identity: Politics and Futures’, comprises two texts: ‘Accessorizing the Nation: Mantillas, Cultural Identity, and Modern Spain’ by In es Corujo-Mart ın and ‘Bodies of the Future: Comics, Fashion and 1980s Movida’ by Alberto Villamandos. Both authors explore Spanish fashion of this period through objects and media, using the mantilla and comics to show how these mediums expressed prevailing ideologies in recent history. The second part, ‘Picturing Femininity: Film and Photography’, consists of the papers ‘Women, Fashion and the Spanish Civil War: From the Fashion Parade to the Victory Parade’ by Kathleen M. Vernon and ‘From Market to Feminism: Fashion Photography during the Franco Dictatorship’ by Olga Sendra Ferrer. Both texts address the use of fashion as a tool to project different images of women in Spain in the 1940s, ’50s and ’60s. The third section, ‘Designing Fashion Stars: Film and Music’, comprises the articles ‘Fashioning Spanish Film Stars: Balenciaga and Conchita Montenegro’ and ‘Rosal ıa and the Rise of Poligonera Chic’. In the first, author Jorge P erez explains how the renowned actress Conchita Montenegro had to soften the image of femme fatale she had cultivated in Hollywood in the 1930s, to become a star of the Spanish screen in the 1940s, and how the wardrobe of her films, partly created by Balenciaga, was a key element in this process. Mary Kate Donovan explains in the second paper how the success of the singer Rosal ıa has contributed to popularising the poligono aesthetic, and the ways in which Rosal ıa has consolidated herself as a representative of another regional fashion of Spanish culture. The last section, entitled ‘Museums: From Closets to the Cloud’, consists of the articles ‘The Museo del Traje’s Research on Spanish Prêta-Porter’ by Juan Guti errez and ‘Curating Catalan Cultural Identity through Dress in the Virtual Fashion Museum of Catalonia’ by Nicholas Wolters. Through very different case studies, both authors explain the work on Spanish fashion that has been carried out in the museum sphere in recent decades, and highlight the research, conservation and dissemination challenges still pending in this field. The book is a good point of departure for the study of contemporary Spanish fashion, but the contributors faced an ambitious and complex task given the labyrinth of political, economic and social c
西班牙时尚史，尤其是十六世纪至十九世纪之间的时尚史，已经得到了相对深入的研究。然而，二十世纪和二十一世纪的西班牙时尚并没有得到同样的关注，仍然需要作为一个研究领域加以发展。时尚西班牙：从曼蒂利亚斯到罗萨利亚，西班牙时尚界不仅从时尚史上，而且从广泛而异质的角度来看待这一时期，包括电影、摄影、音乐、地下运动和博物馆学等领域。这本由八篇文章组成的编辑卷分为四个部分。第一本《身份：政治与未来》由两本书组成：In es Corujo Martın的《访问国家：曼蒂拉斯、文化身份和现代西班牙》和Alberto Villamandos的《未来的身体：漫画、时尚和20世纪80年代的Movida》。两位作者都通过物品和媒介探索了这一时期的西班牙时尚，用曼蒂拉和漫画展示了这些媒介是如何表达近代史上流行的意识形态的。第二部分“描绘女性：电影与摄影”，由Kathleen M.Vernon的论文《女性、时尚与西班牙内战：从时尚游行到胜利游行》和Olga Sendra Ferrer的论文《从市场到女权主义：法国独裁时期的时尚摄影》组成。这两篇文章都谈到了将时尚作为一种工具来展示20世纪40年代、50年代和60年代西班牙女性的不同形象。第三部分，“设计时尚明星：电影和音乐”，包括文章“时尚西班牙电影明星：巴黎世家和黑山康奇塔”和“Rosalıa和Poligonera Chic的崛起”。在第一本书中，作家Jorge P erez解释了著名女演员Conchita Montenegro如何软化她20世纪30年代在好莱坞培养的蛇蝎美人形象，在20世纪40年代成为西班牙银幕上的明星，以及她的电影服装（部分由巴黎世家创作）是这一过程中的关键因素。Mary Kate Donovan在第二篇论文中解释了歌手Rosalıa的成功是如何促进poligono美学的普及的，以及Rosalşa如何巩固自己作为西班牙文化另一种地区时尚代表的地位。最后一节题为“博物馆：从壁橱到云端”，由胡安·古特雷斯的文章“特拉杰博物馆对西班牙波特的研究”和尼古拉斯·沃尔特斯的文章“通过加泰罗尼亚虚拟时尚博物馆的着装来策展加泰罗尼亚文化身份”组成。通过截然不同的案例研究，两位作者解释了近几十年来在博物馆领域开展的西班牙时尚工作，并强调了该领域仍有待解决的研究、保护和传播挑战。这本书是研究当代西班牙时尚的一个很好的起点，但鉴于不仅在
{"title":"Fashioning Spain: From Mantillas to Rosalía","authors":"A. Balda","doi":"10.1080/00404969.2022.2194132","DOIUrl":"https://doi.org/10.1080/00404969.2022.2194132","url":null,"abstract":"The history of Spanish fashion, especially between the sixteenth and nineteenth centuries, has been studied in relative depth. However, Spanish fashion of the twentieth and twenty-first centuries has not received the same attention and still needs to be developed as a field of research. Fashioning Spain: From Mantillas to Rosal ıa approaches this period in Spanish fashion not just from fashion history, but from a broad and heterogeneous perspective including fields spanning cinema, photography, music, underground movements and museography. This edited volume of eight articles is divided into four parts. The first, ‘Identity: Politics and Futures’, comprises two texts: ‘Accessorizing the Nation: Mantillas, Cultural Identity, and Modern Spain’ by In es Corujo-Mart ın and ‘Bodies of the Future: Comics, Fashion and 1980s Movida’ by Alberto Villamandos. Both authors explore Spanish fashion of this period through objects and media, using the mantilla and comics to show how these mediums expressed prevailing ideologies in recent history. The second part, ‘Picturing Femininity: Film and Photography’, consists of the papers ‘Women, Fashion and the Spanish Civil War: From the Fashion Parade to the Victory Parade’ by Kathleen M. Vernon and ‘From Market to Feminism: Fashion Photography during the Franco Dictatorship’ by Olga Sendra Ferrer. Both texts address the use of fashion as a tool to project different images of women in Spain in the 1940s, ’50s and ’60s. The third section, ‘Designing Fashion Stars: Film and Music’, comprises the articles ‘Fashioning Spanish Film Stars: Balenciaga and Conchita Montenegro’ and ‘Rosal ıa and the Rise of Poligonera Chic’. In the first, author Jorge P erez explains how the renowned actress Conchita Montenegro had to soften the image of femme fatale she had cultivated in Hollywood in the 1930s, to become a star of the Spanish screen in the 1940s, and how the wardrobe of her films, partly created by Balenciaga, was a key element in this process. Mary Kate Donovan explains in the second paper how the success of the singer Rosal ıa has contributed to popularising the poligono aesthetic, and the ways in which Rosal ıa has consolidated herself as a representative of another regional fashion of Spanish culture. The last section, entitled ‘Museums: From Closets to the Cloud’, consists of the articles ‘The Museo del Traje’s Research on Spanish Prêta-Porter’ by Juan Guti errez and ‘Curating Catalan Cultural Identity through Dress in the Virtual Fashion Museum of Catalonia’ by Nicholas Wolters. Through very different case studies, both authors explain the work on Spanish fashion that has been carried out in the museum sphere in recent decades, and highlight the research, conservation and dissemination challenges still pending in this field. The book is a good point of departure for the study of contemporary Spanish fashion, but the contributors faced an ambitious and complex task given the labyrinth of political, economic and social c","PeriodicalId":43311,"journal":{"name":"TEXTILE HISTORY","volume":"53 1","pages":"114 - 115"},"PeriodicalIF":1.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45602639","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"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: 10.1080/00404969.2023.2189446
Clare Rose
This paper offers a case study of two London firms active in the production and distribution of women’s ready-to-wear clothing before 1900, H. J. Nicoll and Alfred Stedall. The sources used are registered advertising images from the Records of the Copyright Office, Stationers’ Company at The National Archives; Companies House records (also at The National Archives); and newspaper advertisements sourced from the British Newspaper Archive. These three archives have allowed me to evaluate the uses made of advertising images, and to relate this to the companies’ development, reflecting on the gaps and omissions between the three sources. This research has uncovered a nationwide chain of women’s ready-to-wear retailers, an unexpected development that may require some rethinking of current historiography. It also throws light on the locations and practices of London-based clothing workshops, which have proven resistant to study.
本文提供了一个案例研究两家伦敦公司活跃在1900年之前的妇女成衣生产和销售，H. J. Nicoll和Alfred Stedall。本文使用的广告图片来源于国家档案馆文具公司版权局记录的注册广告图片;公司档案(也在国家档案馆);以及来自英国报纸档案馆的报纸广告。这三份档案让我可以评估广告形象的用途，并将其与公司的发展联系起来，反思三种来源之间的差距和遗漏。这项研究发现了一个全国性的女性成衣连锁店，这是一个意想不到的发展，可能需要重新思考当前的历史。它还揭示了伦敦服装作坊的地点和做法，这些作坊已被证明是难以研究的。
{"title":"Women’s Ready-to-Wear Multiple Retailers 1860–1914: H. J. Nicoll and Alfred Stedall","authors":"Clare Rose","doi":"10.1080/00404969.2023.2189446","DOIUrl":"https://doi.org/10.1080/00404969.2023.2189446","url":null,"abstract":"This paper offers a case study of two London firms active in the production and distribution of women’s ready-to-wear clothing before 1900, H. J. Nicoll and Alfred Stedall. The sources used are registered advertising images from the Records of the Copyright Office, Stationers’ Company at The National Archives; Companies House records (also at The National Archives); and newspaper advertisements sourced from the British Newspaper Archive. These three archives have allowed me to evaluate the uses made of advertising images, and to relate this to the companies’ development, reflecting on the gaps and omissions between the three sources. This research has uncovered a nationwide chain of women’s ready-to-wear retailers, an unexpected development that may require some rethinking of current historiography. It also throws light on the locations and practices of London-based clothing workshops, which have proven resistant to study.","PeriodicalId":43311,"journal":{"name":"TEXTILE HISTORY","volume":"53 1","pages":"56 - 80"},"PeriodicalIF":1.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45522812","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"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: 10.1080/00404969.2022.2193086
K. Pogson
and petticoat. Tudor Textiles is to be recommended as an enjoyable introduction to the sumptuousness of elite furnishings and fabrics in the sixteenth century at a very reasonable price. It is especially helpful in connecting important events, famous faces and individual artefacts (some still available to view and many sadly lost), with further detailed sources from specialists, which might otherwise not come to a reader’s attention.
{"title":"Fibershed: Growing a Movement of Farmers, Fashion Activists, and Makers for a New Textile Economy","authors":"K. Pogson","doi":"10.1080/00404969.2022.2193086","DOIUrl":"https://doi.org/10.1080/00404969.2022.2193086","url":null,"abstract":"and petticoat. Tudor Textiles is to be recommended as an enjoyable introduction to the sumptuousness of elite furnishings and fabrics in the sixteenth century at a very reasonable price. It is especially helpful in connecting important events, famous faces and individual artefacts (some still available to view and many sadly lost), with further detailed sources from specialists, which might otherwise not come to a reader’s attention.","PeriodicalId":43311,"journal":{"name":"TEXTILE HISTORY","volume":"53 1","pages":"124 - 125"},"PeriodicalIF":1.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46682248","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"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: 10.1080/00404969.2023.2189442
Hilary Doda
For generations, weavers in the Scottish Highland diaspora communities in Cape Breton have passed down pattern drafts for ‘overshot’ designs embedded in folklore of migration from the Highlands and Islands. This traditional style of weaving is understood by practitioners to be a direct connection to Scotland and the weaving traditions there. This article looks at overshot textiles woven in Cape Breton, and their use as a form of place attachment for a diaspora community. The embedded history in the designs and their display in public areas of the home invited storytelling, reinforcing notions of respectability, community membership and identity.
{"title":"‘Be sure to incorporate a little history’: Nostalgia and Stories of Place in Cape Breton Overshot Weaving","authors":"Hilary Doda","doi":"10.1080/00404969.2023.2189442","DOIUrl":"https://doi.org/10.1080/00404969.2023.2189442","url":null,"abstract":"For generations, weavers in the Scottish Highland diaspora communities in Cape Breton have passed down pattern drafts for ‘overshot’ designs embedded in folklore of migration from the Highlands and Islands. This traditional style of weaving is understood by practitioners to be a direct connection to Scotland and the weaving traditions there. This article looks at overshot textiles woven in Cape Breton, and their use as a form of place attachment for a diaspora community. The embedded history in the designs and their display in public areas of the home invited storytelling, reinforcing notions of respectability, community membership and identity.","PeriodicalId":43311,"journal":{"name":"TEXTILE HISTORY","volume":"53 1","pages":"81 - 100"},"PeriodicalIF":1.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42562298","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"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: 10.1080/00404969.2022.2200288
Rachel Neal
In a refreshing and visionary approach the Victoria and Albert Museum exhibition, ‘Fashioning Masculinities: The Art of Menswear’, provided a timely exploration of menswear through a lens of masculinity just when its construct is being broken down and redefined through contemporary reflections on gender identity. This major exhibition, the first by the museum to focus on the topic of menswear and masculinity on this scale, unpacked the sartorial hierarchies, symbolisms, meanings and the social and cultural influences that have, for centuries, shaped definitions of masculinity. The underlying concept that threaded throughout the three themes of Undressed, Overdressed and Redressed was, in the words of Gucci’s Creative Director, Alessandro Michele, ‘deconstructing the idea of masculinity’. The first theme, Undressed, did this to great effect by stripping it down to the naked body. Here, through a rich combination of fashion, sculpture, photography, film and material objects, the exhibition led a curatorial inquiry into the cultural ideals that have long shaped anatomical and behavioural masculine gender norms. The statuesque figures of Apollo, Hermes and the Borghese Gladiator signified the influence of Roman sculpture in shaping eighteenthcentury masculine archetypes as the source of inspiration for a culture of male beauty based on athleticism, power and virility. Underpinning each theme in the exhibition was the imaginative juxtaposition of past and present. Throughout, thoughtprovoking parallels were drawn between current topics and historical context, tracing the genesis of contemporary design through historical fashion. For the theme Undressed, the classical masculine ideals embodied by Roman sculpture were reflected back in the display of an Action Man figure, its structure artfully disassembled into its component parts and displayed like Da Vinci’s Vitruvian Man. Photographs of Calvin Klein underwear models illustrated the legacy of classical male beauty as the epitome of masculinity and in turn prompted a poignant moment of reflection on issues of body ideals that saturate social media today. Building on the underpinnings of masculinity, the second theme, Overdressed, explored a world of masculine sartorial artistry and flamboyancy. Sixteenth-, seventeenthand eighteenth-century portraiture provided a window into the role of clothing in the performance of masculinity, which demonstrated how, historically, it has been encoded in sartorial symbols signifying wealth, power and social status. The display of portraiture and fashion showed how flamboyancy has, indeed, a long history in menswear. The use of intricate lace, opulent embroidery, ribbons, tassels, bows, jewellery and, of course, colour were all part of a complex sartorial hierarchy. At the heart of the exhibition was The Spectrum (Fig. 1), providing a vivid display of colour through an eclectic mix of garments ranging from the seventeenth to the twenty-first century. A scarlet red dou
维多利亚和阿尔伯特博物馆（Victoria and Albert Museum）的展览“塑造男性气质：男装艺术”（Fashing Mascularits:the Art of Menswear）以一种令人耳目一新、富有远见的方式，通过男性气质的视角及时探索了男装，而此时，其结构正通过对性别认同的当代反思而被打破和重新定义。这是博物馆首次以这种规模关注男装和男子气概主题的大型展览，揭示了几个世纪以来塑造男子气概定义的服装等级、象征、意义以及社会和文化影响。用古驰创意总监Alessandro Michele的话来说，贯穿于Undred、Overdred和Reddred三个主题的基本概念是“解构男性气质的概念”。第一个主题“Undressed”通过将其剥离到裸露的身体来达到巨大的效果。在这里，通过时尚、雕塑、摄影、电影和实物的丰富结合，展览引领了策展人对长期塑造解剖和行为男性性别规范的文化理想的调查。阿波罗（Apollo）、赫尔墨斯（Hermes）和博尔盖塞角斗士（Borghese Gladiator。展览中每一个主题的基础都是过去和现在富有想象力的并置。在整个过程中，当前的主题和历史背景之间有着发人深省的相似之处，通过历史时尚追溯了当代设计的起源。在主题Undready中，罗马雕塑所体现的古典男性理想在动作人形象的展示中得到了体现，其结构巧妙地分解为其组成部分，并像达的《维特鲁威人》一样展示。卡尔文·克莱因内衣模特的照片展示了古典男性美作为男性气质缩影的遗产，反过来也引发了人们对当今社交媒体上充斥的身体理想问题的深刻反思。在男性气质的基础上，第二个主题“过度穿着”探索了一个男性服装艺术和华丽的世界。十六世纪、十七世纪和十八世纪的肖像画为了解服装在表现男子气概中的作用提供了一扇窗户，这表明在历史上，服装是如何被编码在象征财富、权力和社会地位的服装符号中的。肖像画和时尚的展示表明，张扬在男装中确实有着悠久的历史。复杂的蕾丝、华丽的刺绣、缎带、流苏、蝴蝶结、珠宝的使用，当然还有色彩，都是复杂服装层次的一部分。展览的核心是the Spectrum（图1），通过从17世纪到21世纪的不拘一格的服装组合，生动地展示了色彩。一件17世纪的猩红色紧身上衣与一件深红色天鹅绒并排立在一起
{"title":"‘Fashioning Masculinities: The Art of Menswear’. Victoria and Albert Museum, London, UK, 19 March 2022–6 November 2022","authors":"Rachel Neal","doi":"10.1080/00404969.2022.2200288","DOIUrl":"https://doi.org/10.1080/00404969.2022.2200288","url":null,"abstract":"In a refreshing and visionary approach the Victoria and Albert Museum exhibition, ‘Fashioning Masculinities: The Art of Menswear’, provided a timely exploration of menswear through a lens of masculinity just when its construct is being broken down and redefined through contemporary reflections on gender identity. This major exhibition, the first by the museum to focus on the topic of menswear and masculinity on this scale, unpacked the sartorial hierarchies, symbolisms, meanings and the social and cultural influences that have, for centuries, shaped definitions of masculinity. The underlying concept that threaded throughout the three themes of Undressed, Overdressed and Redressed was, in the words of Gucci’s Creative Director, Alessandro Michele, ‘deconstructing the idea of masculinity’. The first theme, Undressed, did this to great effect by stripping it down to the naked body. Here, through a rich combination of fashion, sculpture, photography, film and material objects, the exhibition led a curatorial inquiry into the cultural ideals that have long shaped anatomical and behavioural masculine gender norms. The statuesque figures of Apollo, Hermes and the Borghese Gladiator signified the influence of Roman sculpture in shaping eighteenthcentury masculine archetypes as the source of inspiration for a culture of male beauty based on athleticism, power and virility. Underpinning each theme in the exhibition was the imaginative juxtaposition of past and present. Throughout, thoughtprovoking parallels were drawn between current topics and historical context, tracing the genesis of contemporary design through historical fashion. For the theme Undressed, the classical masculine ideals embodied by Roman sculpture were reflected back in the display of an Action Man figure, its structure artfully disassembled into its component parts and displayed like Da Vinci’s Vitruvian Man. Photographs of Calvin Klein underwear models illustrated the legacy of classical male beauty as the epitome of masculinity and in turn prompted a poignant moment of reflection on issues of body ideals that saturate social media today. Building on the underpinnings of masculinity, the second theme, Overdressed, explored a world of masculine sartorial artistry and flamboyancy. Sixteenth-, seventeenthand eighteenth-century portraiture provided a window into the role of clothing in the performance of masculinity, which demonstrated how, historically, it has been encoded in sartorial symbols signifying wealth, power and social status. The display of portraiture and fashion showed how flamboyancy has, indeed, a long history in menswear. The use of intricate lace, opulent embroidery, ribbons, tassels, bows, jewellery and, of course, colour were all part of a complex sartorial hierarchy. At the heart of the exhibition was The Spectrum (Fig. 1), providing a vivid display of colour through an eclectic mix of garments ranging from the seventeenth to the twenty-first century. A scarlet red dou","PeriodicalId":43311,"journal":{"name":"TEXTILE HISTORY","volume":"53 1","pages":"105 - 108"},"PeriodicalIF":1.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47699170","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"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: 10.1080/00404969.2022.2200286
Catarina Ferreira
Centred on the work of the Royal School of Needlework (RSN), this exhibition showcased the diversity and versatility of technical hand embroidery over the last 150 years (Fig. 1). The RSN is well known amongst craftspeople and needlework enthusiasts, as well as scholarly and professional audiences, but this exhibition sought to re-introduce the non-profit organisation to the wider public by displaying material culture of its history, body of work and achievements. The exhibition was spread across an introductory room on the ground floor, a wider open gallery and upper floor displays. Across these spaces, the objects and accompanying text and multimedia displays were organised clearly into sections, which roughly followed the chronological development of the RSN. The first two areas tracked the historical founding of the School and its first few decades, as well as the purpose of the School and the nature of the work. The next four spaces tracked some of the School’s work, mostly over the twentieth century, which included two royal showpieces, ecclesiastic work, the connection between embroidery and the military, and the ‘In the Boudoir’ section, which addressed the use of embroidery in intimate items. The last four sections took the exhibition to contemporary times, explaining the School’s modern educational role, as well as artistic collaborations and current offered learning opportunities. The first room firmly established that the School’s founder, Lady Victoria Welby, intended the School to ‘revive a beautiful art which had fallen into disuse and, through its revival, to provide employment for educated women who, without a suitable livelihood, would otherwise find themselves compelled to live in poverty’. Using her position within the aristocracy and her economic power, Lady Welby was able to found a School that, through effective marketing such as publishing in Victorian women’s magazines, and royal endorsement, was able to provide education and employment for women for over 150 years. Many displays included work of embroiderers who were trained and stayed in the School for all of their working life, including the original diploma of Ruby Essam, who trained in 1915 and remained in the School for over sixty years. After a brief introduction to the history of the School, the exhibition moves towards its two showpieces, the mantle or pallium for King Edward VII from 1902 and the robe of estate of Queen Elizabeth (Queen Consort of King George VI) from 1937 (Fig. 2). These two pieces exhibited extraordinary embroidery work due to the intricacy of the design, their status as the highest of court wear, and the large amounts of fabric embroidered. They were displayed in a central case with glass windows so that the garments could be viewed from 360 degrees. The positioning of the mantle was particularly striking and displayed its length to the best advantage. It also positioned the shoulder-to-floor
{"title":"‘150 Years of the Royal School of Needlework: Crown to Catwalk’. Fashion and Textile Museum, London, UK, 1 April 2022–4 September 2022","authors":"Catarina Ferreira","doi":"10.1080/00404969.2022.2200286","DOIUrl":"https://doi.org/10.1080/00404969.2022.2200286","url":null,"abstract":"Centred on the work of the Royal School of Needlework (RSN), this exhibition showcased the diversity and versatility of technical hand embroidery over the last 150 years (Fig. 1). The RSN is well known amongst craftspeople and needlework enthusiasts, as well as scholarly and professional audiences, but this exhibition sought to re-introduce the non-profit organisation to the wider public by displaying material culture of its history, body of work and achievements. The exhibition was spread across an introductory room on the ground floor, a wider open gallery and upper floor displays. Across these spaces, the objects and accompanying text and multimedia displays were organised clearly into sections, which roughly followed the chronological development of the RSN. The first two areas tracked the historical founding of the School and its first few decades, as well as the purpose of the School and the nature of the work. The next four spaces tracked some of the School’s work, mostly over the twentieth century, which included two royal showpieces, ecclesiastic work, the connection between embroidery and the military, and the ‘In the Boudoir’ section, which addressed the use of embroidery in intimate items. The last four sections took the exhibition to contemporary times, explaining the School’s modern educational role, as well as artistic collaborations and current offered learning opportunities. The first room firmly established that the School’s founder, Lady Victoria Welby, intended the School to ‘revive a beautiful art which had fallen into disuse and, through its revival, to provide employment for educated women who, without a suitable livelihood, would otherwise find themselves compelled to live in poverty’. Using her position within the aristocracy and her economic power, Lady Welby was able to found a School that, through effective marketing such as publishing in Victorian women’s magazines, and royal endorsement, was able to provide education and employment for women for over 150 years. Many displays included work of embroiderers who were trained and stayed in the School for all of their working life, including the original diploma of Ruby Essam, who trained in 1915 and remained in the School for over sixty years. After a brief introduction to the history of the School, the exhibition moves towards its two showpieces, the mantle or pallium for King Edward VII from 1902 and the robe of estate of Queen Elizabeth (Queen Consort of King George VI) from 1937 (Fig. 2). These two pieces exhibited extraordinary embroidery work due to the intricacy of the design, their status as the highest of court wear, and the large amounts of fabric embroidered. They were displayed in a central case with glass windows so that the garments could be viewed from 360 degrees. The positioning of the mantle was particularly striking and displayed its length to the best advantage. It also positioned the shoulder-to-floor","PeriodicalId":43311,"journal":{"name":"TEXTILE HISTORY","volume":"53 1","pages":"101 - 105"},"PeriodicalIF":1.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47541221","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：