{"title":"Margaret F. Macdonald et al., The Woman in White: Joanna Hiffernan and James McNeill Whistler","authors":"Alice Mackrell","doi":"10.3366/cost.2022.0235","DOIUrl":"https://doi.org/10.3366/cost.2022.0235","url":null,"abstract":"","PeriodicalId":51969,"journal":{"name":"Costume-The Journal of the Costume Society","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74391888","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}
{"title":"Anne Green, Gloves: An Intimate History","authors":"Rebecca Unsworth","doi":"10.3366/cost.2022.0234","DOIUrl":"https://doi.org/10.3366/cost.2022.0234","url":null,"abstract":"","PeriodicalId":51969,"journal":{"name":"Costume-The Journal of the Costume Society","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87111243","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}
{"title":"Obituary: Anne Thomas","authors":"V. Cumming","doi":"10.3366/cost.2022.0238","DOIUrl":"https://doi.org/10.3366/cost.2022.0238","url":null,"abstract":"","PeriodicalId":51969,"journal":{"name":"Costume-The Journal of the Costume Society","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74244805","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}
The article is concerned with a Japanese wedding uchikake kimono, c. 1800–1850, acquired by distinguished Polish collector Feliks ‘Manggha’ Jasieński in 1900, the nuanced issues surrounding its multiple representations in Polish painting and photography during the period 1900–1908, and the multifarious meanings with which the garment was imbued. The uchikake’s original features exerted a seminal formal influence upon its representations. The interpretive process was also informed by perceptions concerning the woman’s status in society and marriage in Japan and in the West, Western and Japanese artistic traditions, as well as current Japonisme in art and fashion. In each of its representations, the uchikake also conveyed personal meanings important to the artist/wearer.
{"title":"An Inspiring Object: A Wedding Uchikake Kimono from the Collection of the National Museum in Kraków and its Multiple Representations","authors":"Małgorzata Możdżyńska-Nawotka","doi":"10.3366/cost.2022.0230","DOIUrl":"https://doi.org/10.3366/cost.2022.0230","url":null,"abstract":"The article is concerned with a Japanese wedding uchikake kimono, c. 1800–1850, acquired by distinguished Polish collector Feliks ‘Manggha’ Jasieński in 1900, the nuanced issues surrounding its multiple representations in Polish painting and photography during the period 1900–1908, and the multifarious meanings with which the garment was imbued. The uchikake’s original features exerted a seminal formal influence upon its representations. The interpretive process was also informed by perceptions concerning the woman’s status in society and marriage in Japan and in the West, Western and Japanese artistic traditions, as well as current Japonisme in art and fashion. In each of its representations, the uchikake also conveyed personal meanings important to the artist/wearer.","PeriodicalId":51969,"journal":{"name":"Costume-The Journal of the Costume Society","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88721299","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}
The emergence of sports-specific clothing during the late nineteenth and early twentieth centuries has been explored by academics, yet with only a few exceptions which focus on sports such as swimming, riding and tennis, little has been written about the development of sportswear for women in Britain in this period. 1 Similarly, there has been little in the way of consideration given to the growth and development of women’s golf during this time. Yet, both are areas of considerable change and worthy of detailed study. In this article we will trace the developments of golf clothing for women from the early days of the formalized game in the late nineteenth century until the end of the inter-war period. In doing so we seek to highlight that golf fashions, like those in other sporting arenas, mirrored the changing expectations of female players whilst also reflecting the societal expectations of women of the period. We will discuss the everyday clothing worn by the pioneers of the game and the modifications they made to their garments in order allow them to play effectively. We will also explore the growth of specialist sports clothing developed specifically for golf and the ways in which these sports clothes were marketed and ultimately became fashionable modes of attire beyond the golf course by the end of the inter-war period.
{"title":"Conventional to Comfortable or Respectable to Practical: The Evolution of Women’s Golf Clothing in Britain, 1890–1935","authors":"Fiona Skillen, Lauren Beatty","doi":"10.3366/cost.2022.0231","DOIUrl":"https://doi.org/10.3366/cost.2022.0231","url":null,"abstract":"The emergence of sports-specific clothing during the late nineteenth and early twentieth centuries has been explored by academics, yet with only a few exceptions which focus on sports such as swimming, riding and tennis, little has been written about the development of sportswear for women in Britain in this period. 1 Similarly, there has been little in the way of consideration given to the growth and development of women’s golf during this time. Yet, both are areas of considerable change and worthy of detailed study. In this article we will trace the developments of golf clothing for women from the early days of the formalized game in the late nineteenth century until the end of the inter-war period. In doing so we seek to highlight that golf fashions, like those in other sporting arenas, mirrored the changing expectations of female players whilst also reflecting the societal expectations of women of the period. We will discuss the everyday clothing worn by the pioneers of the game and the modifications they made to their garments in order allow them to play effectively. We will also explore the growth of specialist sports clothing developed specifically for golf and the ways in which these sports clothes were marketed and ultimately became fashionable modes of attire beyond the golf course by the end of the inter-war period.","PeriodicalId":51969,"journal":{"name":"Costume-The Journal of the Costume Society","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86920799","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}
The fashion entrepreneurs of so-called ‘Swinging London’ — John Stephen on Carnaby Street or Mary Quant on the King's Road, for example — fundamentally changed British fashion in the 1960s: from old to young, dull to vibrant and, crucially, from shop to boutique. But while the impact of ‘Swinging London’ is well recorded in the historiography of English fashion and retail, less is known about its effects further afield. This article considers the impact of ‘Swinging London’ boutique culture in Scotland between 1965 and 1970. Taking the example of the Glasgow fashion design and manufacturing business Marion Donaldson as its main case study, it draws on a variety of oral history, archival and media evidence to trace the dissemination of boutique fashion culture in Scotland across multiple retail contexts. From the urban centres of Glasgow and Edinburgh to the towns and regions beyond, it offers new analyses of the opportunities boutique retailing afforded Marion Donaldson and the Scottish fashion industry more generally, and thus provides new insight into the impact of the so-called ‘boutique boom’ of the 1960s on Scottish fashion and enterprise culture.
{"title":"Just Like the King's Road, Only Nearer: Scotland's Boutique Bonanza, 1965–1970","authors":"J. Halbert","doi":"10.3366/cost.2022.0220","DOIUrl":"https://doi.org/10.3366/cost.2022.0220","url":null,"abstract":"The fashion entrepreneurs of so-called ‘Swinging London’ — John Stephen on Carnaby Street or Mary Quant on the King's Road, for example — fundamentally changed British fashion in the 1960s: from old to young, dull to vibrant and, crucially, from shop to boutique. But while the impact of ‘Swinging London’ is well recorded in the historiography of English fashion and retail, less is known about its effects further afield. This article considers the impact of ‘Swinging London’ boutique culture in Scotland between 1965 and 1970. Taking the example of the Glasgow fashion design and manufacturing business Marion Donaldson as its main case study, it draws on a variety of oral history, archival and media evidence to trace the dissemination of boutique fashion culture in Scotland across multiple retail contexts. From the urban centres of Glasgow and Edinburgh to the towns and regions beyond, it offers new analyses of the opportunities boutique retailing afforded Marion Donaldson and the Scottish fashion industry more generally, and thus provides new insight into the impact of the so-called ‘boutique boom’ of the 1960s on Scottish fashion and enterprise culture.","PeriodicalId":51969,"journal":{"name":"Costume-The Journal of the Costume Society","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88967142","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}
This article studies five shaped panels of Duchesse de Bruxelles lace, part of the collection of the MoMu Fashion Museum in Antwerp. These handmade panels were created c. 1900 but never fashioned into a gown and, consequently, never worn. The first part of this article uses an object-based approach to examine how the panels might have looked if they had been constructed into a gown, what type of gown this would have been, to what occasions it would have been worn and by whom. In 2021, the renovated MoMu reopened with, in addition to its space for temporary exhibitions, a permanent display showing highlights from the museum collection. This unconstructed gown being a highlight of its historical lace collection, the museum is currently considering how to best exhibit it. The second part of this article therefore examines different display possibilities, ranging from a full reconstruction, to a deconstructed display, to the possibility of replication — all the while keeping in mind the ethics of conservation-restoration and display, and what it means to exhibit fashion.
本文研究了比利时安特卫普MoMu时尚博物馆收藏的五件Duchesse de Bruxelles蕾丝造型面板。这些手工制作的镶板是在1900年左右制作的，但从来没有做成长袍，因此也从来没有穿过。本文的第一部分使用基于对象的方法来检查面板如果被制成长袍可能会是什么样子，这将是什么类型的长袍，在什么场合会被穿着以及由谁穿着。2021年，经过翻修的MoMu重新开放，除了临时展览空间外，还有一个永久性的展览空间，展示了博物馆藏品的精华。这件未制作的礼服是其历史蕾丝收藏的亮点，博物馆目前正在考虑如何最好地展示它。因此，本文的第二部分考察了不同的展示可能性，从完整的重建，到解构的展示，再到复制的可能性——所有这些都要牢记保护修复和展示的伦理，以及展示时尚的意义。
{"title":"(Un)constructed, Reconstructed and Deconstructed Again. An Examination of the Context, Reconstruction and Display Possibilities of Five Lace Panels for Use on a Gown, c. 1900–1910, at the MoMu Fashion Museum in Antwerp","authors":"Dries Debackere","doi":"10.3366/cost.2022.0217","DOIUrl":"https://doi.org/10.3366/cost.2022.0217","url":null,"abstract":"This article studies five shaped panels of Duchesse de Bruxelles lace, part of the collection of the MoMu Fashion Museum in Antwerp. These handmade panels were created c. 1900 but never fashioned into a gown and, consequently, never worn. The first part of this article uses an object-based approach to examine how the panels might have looked if they had been constructed into a gown, what type of gown this would have been, to what occasions it would have been worn and by whom. In 2021, the renovated MoMu reopened with, in addition to its space for temporary exhibitions, a permanent display showing highlights from the museum collection. This unconstructed gown being a highlight of its historical lace collection, the museum is currently considering how to best exhibit it. The second part of this article therefore examines different display possibilities, ranging from a full reconstruction, to a deconstructed display, to the possibility of replication — all the while keeping in mind the ethics of conservation-restoration and display, and what it means to exhibit fashion.","PeriodicalId":51969,"journal":{"name":"Costume-The Journal of the Costume Society","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85877908","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}
This article investigates the use of the Autochrome, an important photographic process invented by the Lumière brothers that produced the most accurate representation of colour between 1907 and the early 1930s, in a government-backed exhibition of French luxury commodities, the Salon du Goût Français. Between 1921 and 1923 the exhibition showed in Paris and undertook two international tours, first to North America and then to Australasia, China, Vietnam, Japan and India. Thousands of objects were displayed, from automobiles to umbrellas, including couture, ready to wear, lingerie, menswear, children's wear and accessories. By reducing the objects to two dimensions on the glass Autochrome plates, the exhibition could be shown in a relatively small venue in Paris, transported to America in a trunk and voyage on a decommissioned battle cruiser to the Far East. Using the trope of Western fashion as a form of soft power mediated by the global reach afforded by the Autochromes, the article proposes that the Salon du Goût Français offered a kind of roving virtual art gallery, a vividly colourful encyclopaedic display of over 2,000 images of luxury manufacturing deployed to restore France's imperial and cultural hegemony as supreme arbiter of taste after the trauma of the First World War.
本文调查了在1907年至20世纪30年代初，由lumi兄弟发明的一种重要的摄影工艺，在政府支持的法国奢侈品展览沙龙(Salon du go t franais)上，Autochrome的使用情况，该工艺产生了最准确的色彩表现。1921年至1923年间，该展览在巴黎展出，并进行了两次国际巡回演出，首先是北美，然后是大洋洲，中国，越南，日本和印度。从汽车到雨伞，展出了数千件物品，包括高级定制服装、成衣、内衣、男装、童装和配饰。通过在Autochrome玻璃板上将展品缩小为二维，展览可以在巴黎一个相对较小的场地展出，然后用一艘退役的巡洋舰的后备箱和航程运到美国，前往远东。文章将西方时尚作为软实力的一种形式，以Autochromes提供的全球影响力为媒介，提出沙龙du go franais提供了一种流动的虚拟艺术画廊，一个生动多彩的百科全书式展示，展示了2000多幅奢侈品制造的图像，旨在恢复法国在第一次世界大战创伤后作为品味最高仲裁者的帝国和文化霸权。
{"title":"The Colour of Fashion at the Salon du Goût Français: A Virtual Exhibition of French Luxury Commodities, 1921–1923","authors":"Cally Blackman","doi":"10.3366/cost.2022.0218","DOIUrl":"https://doi.org/10.3366/cost.2022.0218","url":null,"abstract":"This article investigates the use of the Autochrome, an important photographic process invented by the Lumière brothers that produced the most accurate representation of colour between 1907 and the early 1930s, in a government-backed exhibition of French luxury commodities, the Salon du Goût Français. Between 1921 and 1923 the exhibition showed in Paris and undertook two international tours, first to North America and then to Australasia, China, Vietnam, Japan and India. Thousands of objects were displayed, from automobiles to umbrellas, including couture, ready to wear, lingerie, menswear, children's wear and accessories. By reducing the objects to two dimensions on the glass Autochrome plates, the exhibition could be shown in a relatively small venue in Paris, transported to America in a trunk and voyage on a decommissioned battle cruiser to the Far East. Using the trope of Western fashion as a form of soft power mediated by the global reach afforded by the Autochromes, the article proposes that the Salon du Goût Français offered a kind of roving virtual art gallery, a vividly colourful encyclopaedic display of over 2,000 images of luxury manufacturing deployed to restore France's imperial and cultural hegemony as supreme arbiter of taste after the trauma of the First World War.","PeriodicalId":51969,"journal":{"name":"Costume-The Journal of the Costume Society","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81270796","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}
{"title":"Dandy Style: 250 Years of British Men's Fashion, ed. by Shaun Cole and Miles Lambert","authors":"D. Sprecher","doi":"10.3366/cost.2022.0222","DOIUrl":"https://doi.org/10.3366/cost.2022.0222","url":null,"abstract":"","PeriodicalId":51969,"journal":{"name":"Costume-The Journal of the Costume Society","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75335436","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}
{"title":"Front matter","authors":"","doi":"10.3366/cost.2022.0214","DOIUrl":"https://doi.org/10.3366/cost.2022.0214","url":null,"abstract":"","PeriodicalId":51969,"journal":{"name":"Costume-The Journal of the Costume Society","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80363889","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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