Pub Date : 2020-01-02DOI: 10.1080/00404969.2020.1762149
Alison Martino
In the nineteenth century, British textile companies began making factory-printed cloth with adinkra motifs for African consumers. These symbolic designs were previously reserved for hand-stamped cloths among Akans of present-day Ghana. Such textiles illustrate the complexities of re-presenting history and shaping cultural knowledge through cloth and colonial exchanges. This article focuses on the design and circulation of one specific British textile design with adinkra symbols made during the 1890s to 1930s, the earliest recorded evidence I have found of adinkra in factory-printed cloths. This textile pattern reveals how merchants, designers and printers historically transformed adinkra symbols from Akan society to become global markers of Africa.
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Pub Date : 2020-01-02DOI: 10.1080/00404969.2020.1741206
W. Bamber
In an era of rapid social transformation, technological change and imperialism, choices of dress and consumption took on deeply political significance. The political dimensions of clothing, deployed in the service of authoritarian nation-building, defiance, emancipatory movements and the navigation of changing social norms, are at the heart of this volume on East Asian fashion history. Seeking to go beyond objectifying, museum-centric approaches, its essays highlight the intersections of dress history with ‘issues of gender and the body, power and control, commerce and manufacturing and art and popular culture’ (p. 1). As such, it is a welcome addition to the growing literature that takes seriously the diversity and agency of modernising consumption patterns in regions other than the West. Comprising fourteen essays on Japanese, Chinese, Korean, Taiwanese and Hong Kong dress history over c. 1880–1960, the project collectively aspires to present a ‘broader transcultural perspective’ (p. 3), highlighting elements of common experience and interconnection across the region. While many individual contributions do remain limited to national frameworks and courtly or elite subjects, the editors have ordered the chapters carefully so as to bring them into productive dialogue with one another and generate a genuine sense of development across the region as a whole. The best essays are those that deploy histories of particular objects, movements or styles to complicate teleologies of national modernisation, highlighting the alternate visions of social order and modernity that became expressed through dress, and the localised ambivalence often generated by the new possibilities of globalised consumption. The volume is further enriched by a wide, often creative array of sources and approaches. This is exemplified by Rachel Silberstein and Seiko Sugimoto in Chapters 10 and 11, which combine statistical, historical and even popular literary sources with visual analysis of pictures and dress to construct a compelling picture of woollen cloths’ historical importance in China and Japan. The best sections of the book in fact might offer useful methodological inspiration for further studies in this field. The book is divided into four thematic sections. The first, ‘Garments and Uniform’, considers state impositions of modernised official costume. The three essays by Yoshinori Osakebe, Kyungmee Lee and Aida Yuen Wong, which focus on official dress reforms in Japan, Korea and China respectively, work particularly well together, showing both the common kinds of opposition these measures encountered and the degree to which these three countries were a constant reference point to each other as they sought to reinvent themselves. Osakebe shows how Westernising Meiji dress codes, far from finding easy acceptance, became an emotive proxy for the competing political visions of factions of old nobility and a rising bureaucratic cadre. Lee and Wong meanwhile highlight the cha
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Pub Date : 2020-01-02DOI: 10.1080/00404969.2020.1741215
Mary Schoeser
As its title implies, this volume has been marketed as an expose, trumpeted by its publisher as addressing the question: ‘When a new technology makes people ill, how high does the body count have t...
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Pub Date : 2020-01-02DOI: 10.1080/00404969.2020.1741272
Lucy McConnell
The life of Anne Lister (1791–1840), a landowner, businesswoman, intellectual, traveller and lesbian, inspired the recent BBC and HBO series Gentleman Jack. Written by Sally Wainwright, the series ...
Anne Lister（1791-1840）是一位土地所有者、女商人、知识分子、旅行者和女同性恋者，她的生活启发了英国广播公司和HBO最近的电视剧《绅士杰克》。由莎莉·温赖特撰写，该系列。。。
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Pub Date : 2020-01-02DOI: 10.1080/00404969.2020.1741214
L. Millar
emerges of Alexandra’s agency and talent for choosing garments both appropriate for the occasion and individual in taste. Chapter 2 examines Alexandra’s engagement and marriage, where the frugality of her Danish childhood was evident in the assembling of clothes for the wedding and trousseau. Here close object study demonstrates its rewards: while outwardly conforming to the need to wear clothing of British manufacture, Alexandra also inserted a personal good luck charm — some gifted lace of European manufacture — inside the dress. Chapter 3 analyses Alexandra’s evening and court dresses, showing how, both in colour and decoration, their evolution mirrored changes in her personal life; for example, the change from bright to muted colours following the death of her eldest son, Albert Victor. Chapter 4 explores Alexandra’s travel outfits, highlighting the hybrid outfits that incorporated elements of local clothing traditions into her own clothing, sometimes for comfort and practicality, sometimes for diplomacy; for example, when Alexandra visited Ireland she wore dresses made from green fabric and decorated with shamrocks. The theme of dressing for effect recurs in Chapter 5, which addresses Alexandra’s fancy-dress clothing. Strasdin suggests that her propensity to appear as a queen — Mary Queen of Scots for the 1871 Waverley Ball and Marguerite Valois for the 1897 Devonshire Ball — demonstrates a subversive streak, playing at queen while still a queen-in-waiting. Equally fascinating is the exploration of what Strasdin terms ‘like dressing’, adopted by Alexandra and her sister Dagmar for the latter’s visit in 1873, when the two chose a series of identical garments to highlight their sisterly affection and offer a performance of kinship and imperial ties. Chapter 6 considers Alexandra’s contributions to fashion through her collaborations with tailors, including her role in the rising fortunes of Isle of Wight tailor John Redfern. Queen Victoria is the first royal to spring to mind when thinking of mourning dress, but Chapter 7’s discussion of Alexandra’s mourning clothing reminds us that Queen Victoria was not setting a trend but rather amplifying and personifying a well-established tradition. The distinction between the clothes worn by Victoria, queen in her own right, and Alexandra as a queen consort, recurs in Chapter 8’s analysis of coronation robes. The chapter also demonstrates Alexandra’s involvement in design choices, such as the mantle’s all-over embroidery, which followed Danish, rather than British, tradition. The book contains a good mixture of coloured plates, many of which illustrate surviving garments, and black and white images, although, as with other books in the Bloomsbury Dress and Fashion Research Series, they leave the reader desiring more. The index contains some oddities that might hinder a reader searching for particular references (‘sumptuous lace’ under ‘s’, rather than ‘lace’ under ‘l’; ‘woven plaid shawl’ under ‘w’, rath
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Pub Date : 2020-01-02DOI: 10.1080/00404969.2020.1741213
Alexandra Kim
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Pub Date : 2020-01-02DOI: 10.1080/00404969.2020.1741203
Tabitha Baker
credit in providing necessary working capital. A fortunate few merchants were granted the office of receiver-general of the land tax in Devon and so could dip into public funds to stay afloat. Others had to rely on borrowing from customers, particularly the Dutch, or from the cloth-makers, cloth-finishers and woolmen who supplied them. In 1717, a merchant, Robert Burridge, died owing his creditors £16,425, nearly three times the value of his stock. The growing sophistication of financial markets, particularly in the Low Countries, is reflected in the use of bills of exchange as a means of paying for cloth. Such credit mechanisms were essential to business, but, if and when things went wrong, could spread the consequences of a merchant’s financial ruin to the wider cloth-making community. This reviewer does hold some reservations. The index is largely limited to places and people, so the reader will search in vain for references to kersey and serge. A few names are surprisingly absent from the bibliography, notably those of the eminent textile historians David Jenkins and John Munro. Maunder’s work would have possessed wider significance had he devoted more time to exploring why the cloth trade flourished in Tiverton to such an extent that the town grew from a small and relatively poor inland community, far from London, to become, by 1700, one of the biggest manufacturing centres in England, with a population of 8,000, 60 per cent of whom were engaged in the industry. Finally, it is tempting but misguided to include every detail that has been lovingly extracted from the archives. Had the author better resisted such temptation his book would have been more concise and engaging. Despite these caveats, this volume remains an inspiration for anyone embarking on a similar project in future. NICHOLAS R. AMOR University of East Anglia
提供必要营运资金的信贷。少数幸运的商人被授予了德文郡土地税总接管人的职位，因此可以动用公共资金维持生计。其他人则不得不依靠向客户(尤其是荷兰人)借钱，或者向布料制造商、布料精加工商和羊毛供应商借钱。1717年，商人罗伯特·伯里奇(Robert Burridge)去世时欠债权人16425英镑，几乎是他股票价值的三倍。金融市场日益成熟，特别是在低地国家，这反映在使用汇票作为支付布料的手段上。这种信用机制对商业至关重要，但是，如果出现问题，可能会将商人财务破产的后果蔓延到更广泛的布料制造社区。这个评论者确实有一些保留意见。这个索引很大程度上局限于地点和人物，因此读者将徒劳无功地搜索kersey和serge的参考资料。令人惊讶的是，参考书目中没有几个名字，尤其是著名的纺织历史学家大卫·詹金斯(David Jenkins)和约翰·门罗(John Munro)。如果蒙德花更多的时间来探索为什么蒂弗顿的布料贸易如此繁荣，以至于这个小镇从一个远离伦敦的相对贫穷的内陆小社区，发展到1700年，成为英格兰最大的制造业中心之一，人口8000人，其中60%从事该行业，他的工作将具有更广泛的意义。最后，把从档案中精心提取出来的每一个细节都包括进来，虽然很诱人，但却是错误的。如果作者能更好地抵制这种诱惑，他的书可能会更简洁、更吸引人。尽管有这些警告，这本书仍然是未来从事类似项目的任何人的灵感。NICHOLAS R. AMOR东安格利亚大学
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Pub Date : 2020-01-02DOI: 10.1080/00404969.2020.1741216
Rebecca Unsworth
This book examines an aspect of dress that has received relatively little scholarly attention: the pocket. It is particularly concerned with tie-on pockets, the large pocket bags that were separate...
这本书探讨了一个相对较少受到学术关注的着装方面：口袋。它特别关注系带口袋，分开的大口袋。。。
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Pub Date : 2020-01-02DOI: 10.1080/00404969.2020.1747372
E. Renne
In the 1930s, the demand for adire cloth led to its subsequent production in northern Nigeria. Yoruba adire cloths were reinterpreted by Hausa adire makers who developed their own attractive, named patterns. When the Nigerian economy improved and industrially-printed cotton textiles became more accessible in the 1970s, Hausa women largely abandoned adire cloths for manufactured cotton prints. However, tourist demand for adire cloths and changing fashion tastes for newer adire styles have supported their continued creation, particularly in Kano. While political and economic circumstances have reduced adire production, these textiles continue to have sociocultural significance in twenty-first-century northern Nigeria.
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Pub Date : 2020-01-02DOI: 10.1080/00404969.2020.1741210
Janis Jefferies
A hardback volume, Vitamin T is an encyclopaedic, global survey of more than 100 artists, chosen by art world professionals — critics, curators and museum directors — for their work with threads, stitching and textiles. Though an expensive purchase, it has a seductive cover, lavish colour illustrations, a very accessibly written introduction by Jenelle Porter and is filled with concise biographical information. For textile historians, the texts and biographical inserts may prove frustratingly limited in scope, but it is a useful catalogue for investors. The book is overseen by editors Louisa Elderton and Rebecca Morrill who get tangled up, in the Preface (p. 9), in a dilemma that haunts many writers and theorists in the textile arts field. On the one hand, many of the works included in Vitamin T do not fit any predetermined classification of material, technique or medium-specific discipline. They fall somewhere between painting, sculpture and installation. Indeed, many of the artists utilise various practices of weaving, knotting, embroidery and knitting, and an expanded range of materials not normally associated with the making of textiles — burlap, plastic, wood, rubber — and so avoid being pigeonholed. Given this, as the editors admit, the book’s subtitle, Threads and Textiles in Contemporary Art, actually suggests a scope far narrower than its contents. In fact, by attempting to be pluralistic in choice, Vitamin T paradoxically offers no more than a fast-moving snapshot of a new hierarchy of acceptable entries into a very particular art world market. It is worth reading Jenelle Porter’s introduction to Vitamin T. Previously senior curator at ICA Boston, USA, Porter was responsible for curating the 2014 survey show, Fiber: Sculpture 1960–Present. This traced, in Porter’s view, a revolution in fibre art that happened during the 1960s, a decade that attempted to blur the lines between art and craft. The term ‘fibre art’ came into use by mostly American curators and art historians to describe the work of the artist-craftsperson following the Second World War, which saw a sharp increase in the design and production of ‘art fabric’. In the 1950s, as the contributions of craft artists became more recognised — not just in fibre but also in clay and other media — an increasing number of weavers began binding fibres into non-functional forms as works of art. As outlined by Porter in both Vitamin T and Fiber, the art world has long held a bias against fibre-based artists and their work. Often historically gendered feminine, carrying connotations of intimacy and domesticity, fibre compositions were relegated to the realm of craft, far from the ranks of fine art. Porter staked a claim for positioning fibre more firmly proximate to the explorations that have propelled abstract forms of art since the 1960s, and the Boston catalogue profiled a significant number of the field’s most influential artists, most of whom were white American or European women opera
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