《在美国:时尚词典

IF 0.7 4区 社会学 0 HUMANITIES, MULTIDISCIPLINARY Fashion Theory-The Journal of Dress Body & Culture Pub Date : 2022-05-03 DOI:10.1080/1362704X.2022.2073977
Michael Vanicek
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引用次数: 0

摘要

《在美国:时尚词典》(In America:A Lexicon of Fashion)是大都会艺术博物馆服装学院(Metropolitan Museum of Art’s Costume Institute。展览包括大约100个合奏,分为12个情感主题(怀旧、归属、快乐、保证、欲望、力量、舒适、自信、亲和力、奇迹、欢乐和意识),以思考时尚在美国是如何“说话”的。Lexicon的灵感来源于被子,并在概念上以被子为原型,被子是美国民间传统的主要内容,也是多样性的象征,展品按肖像排列在阴影框中。数量令人印象深刻,关系周到,定义细致入微,但一系列相同的展品即使不单调,也可能是压倒性的。与此同时,展览感觉有点删节,因为第二部分将更加壮观,这对画廊来说是一个沉重的负担。尽管如此,《在美国:时尚词典》成功地提供了一个词汇,当人们考虑到展出的美国时尚时,会自然而然地进入这个词汇,并提出了一个最受时间考验的问题,这个问题甚至在建国之前就已经塑造了这个国家:谁才能成为美国人?
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In America: A Lexicon of Fashion
In America: A Lexicon of Fashion, the first of a two-part exhibition at the Metropolitan Museum of Art’s Costume Institute, attempts to develop a vocabulary to address the evocative qualities of American fashion since the 1940s. The exhibition comprises approximately 100 ensembles classified and subdivided amongst twelve emotional themes (Nostalgia, Belonging, Delight, Assurance, Desire, Strength, Comfort, Confidence, Affinity, Wonder, Joy and Consciousness) in order to consider how is fashion ‘spoken’ in America. A Lexicon is inspired by and conceptually modelled upon the quilt, a staple of American folk tradition and a metaphor of diversity, with the exhibits arranged by likeness in shadow boxes. The quantity is impressive, the relations thoughtful and the definitions nuanced, but the succession of identically presented exhibits can be overwhelming, if not monotonous. At the same time, the exhibition feels somewhat abridged, with the promise of a more spectacular Part Two weighing on the galleries. Nevertheless, In America: A Lexicon of Fashion succeeds in providing a vocabulary that one naturally falls into when considering the American fashion on display and in asking the most time-tested, à propos question that has shaped the nation since even before its founding: Who gets to be American?
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来源期刊
CiteScore
2.10
自引率
10.00%
发文量
41
期刊介绍: The importance of studying the body as a site for the deployment of discourses is well-established in a number of disciplines. By contrast, the study of fashion has, until recently, suffered from a lack of critical analysis. Increasingly, however, scholars have recognized the cultural significance of self-fashioning, including not only clothing but also such body alterations as tattooing and piercing. Fashion Theory takes as its starting point a definition of “fashion” as the cultural construction of the embodied identity. It provides an interdisciplinary forum for the rigorous analysis of cultural phenomena ranging from footbinding to fashion advertising.
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