History of clothing and fashion

Throughout the Second World War, a wide variety of methods were used to promote the actions and characters of the aviators in the Royal Air Force in Britain. In particular, flying clothing was repeatedly included in visual representations of these aviators to encourage their recognition and appreciation by the British public. This article examines visual representations of Royal Air Force aviators and their flying clothing in material including posters and films produced for domestic consumption in Britain during the Second World War (1939 1945). It is argued that the symbolic use of flying clothing in visual material produced and circulated during this period can be divided into three categories of use as propaganda: as a symbol to aid audiences' identification of aviators; as a means to invite interest and fascination with the Royal Air Force; and as a visual representation to characterise and contextualise depictions of aviators and their surroundings. This usage served to promote Royal Air Force aviators in a manner that encouraged recruitment as well as enhanced popular support for the Royal Air Force and its contribution to Britain's war effort.

Il libro analizza le vesti liturgiche cristiane dal punto di vista storico, simbolico ed iconografico. Il testo, rigoroso e documentato, approfondisce in particolare il rapporto tra uomo e corpo, tra corpo e società, tra corpo e vestire liturgico, Il volume è diviso in due parti, di cui la seconda nello specifico presenta la storia e l'evoluzione dei singoli 'capi' dell'abbigliamento liturgico cattolico. Il testo è illustrato con disegni al tratto dell'autrice.

Elisa Tosi Brandi e Thessy Schoenholzer Nichols presentano uno studio relativo ad uno dei più antichi abiti alla moda rinvenuto in Italia. Si tratta di una veste femminile appartenuta alla beata Osanna Andreasi da Mantova, consigliera di Isabella d'Este e "santa di corte" dei Gonzaga, risalente alla seconda metà del XV secolo.
Le due autrici hanno studiato insieme il caso, precisamente Elisa Tosi Brandi si è occupata del contesto storico e sociale, Thessy Schoenholzer Nichols dello studio della fonte materiale e della sua ricostruzione ora esposta presso Casa Andreasi.

Elisa Tosi Brandi and Thessy Schoenholzer Nichols present a study of the oldest trendy clothes found in Italy. It is a woman's dress belonged to the Blessed Osanna Andreasi from Mantua, counselor of the Gonzaga court, dating from the second half of the fifteenth century.
The two authors have studied together the case, namely Elisa Tosi Brandi took over the historical and social context, Thessy Schoenholzer Nichols the study of the material source and its reconstruction, now display at Casa Andreasi.

The main purpose of this article is to compare Russian women’s costume of the pre-Petrine period and European Renaissance costume. The authors analyzed written sources on the subject, investigated shapes and constructions of historical garments, as well as decoration methods and materials that was being used for tailoring.

MA thesis researching the socio-political dimensions of Mongolian attire in the Mongolian Empire and Yuan dynasty.

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Carved and painted onto wood, stone, bone, animal skins or metal, woven and knit into cloth, material culture from Northwest Coast Native peoples has historically been a one-of-a-kind iteration and a declaration of of familial rights and privileges.  These items adorned public and private spaces, including the body, and were traditionally produced by hand.  In recent years, some designs have been serialized and mass produced through new technologies like silk screen and digital printing, adorning everything from coffee mugs to t-shirts, sunglasses, jewelry and other garments (Roth 2012; Roth 2015). This chapter explores the history of Nuu-chah-nulth First Nations specifically and analyzes their distinctive aesthetics and design practice through the lens of fashion theory.  The chapter concludes with a discussion of contemporary Nuu-chah-nulth designers and the circulation of their work.  I ask: how does fashion operate within Nuu-chah-nulth social organization and how has ongoing colonialism and hybridization of prestige and capitalist economies transformed Nuu-chah-nulth fashion systems and design ideas? The findings discussed in this chapter draw from ongoing ethnographic research (beginning in October 2009) and archival- and museum-based research at both major and minor institutional repositories in the United States, Canada, Germany and England.

This article discusses recent finds in the Angelica Garnett Gift of 8000 previously unseen works of art by Bloomsbury artists Vanessa Bell and Duncan Grant, donated to The Charleston Trust in 2008. The Charleston Trust cares for Charleston House, the Sussex home of Bell and Grant, and the collection of their and their contemporaries’ artworks. The Angelica Garnett Gift has emphasized the overlooked importance of dress to the work and lives of Bell and Grant and calls for more attention on the sartorials of Bloomsbury. This article aims to spark discussion in this understudied field, focusing on two examples found in the Gift, which reinterpret and reclaim the Victorian styles of the top hat and the fan to express possibilities of modern identity. These works interrogate how dress can negotiate experiences of both gender and modernity while also revealing understudied artistic and design processes, for Duncan Grant with the Omega Workshops and Vanessa Bell later in life. The style of the Bloomsbury Group continues to inspire designers today who find their modernist dress equally suitable to express the contemporary moment.

Book review. Michael Carter: Being Prepared: Aspects of Dress and Dressing. Sydney: Puncher & Wattmann, 2017, 210 pp., ISBN 978-1-9221-8694-2.

The meanings of dress, clothing and fashion are so intermingled nowadays that it is hard to speak about one without inferring the others. Dress is mainly about appearance, the visual, while fashion includes the social meanings and functions of dress. Clothing occupies a central place in contemporary dress and fashion, but clothing is also a technology with properties and functions unrelated to dress and fashion. For these reasons, the overlap between dress and clothing can create problems when considering questions of origins.

High quality textiles were unquestionably one of the most luxurious goods in the Middle Ages. Expensive fabrics, especially silks are recognised as indicators of the owner's high social status. The excavations conducted in Elbląg (Elbing) gave rise to a very interesting collection of textiles. The fact that most of these finds came from parcels with well-known historical background offers a rare opportunity to relate the discovered textiles to their owners. It is also possible to link certain types of fabrics mentioned in written sources to actual archaeological finds. Combining archaeological and historical data enables us to shed some light on the question of using expensive textiles by townspeople in a late medieval Hanseatic town. A great correspondence of these sources as far as textile evidence is concerned can be observed: types of textiles listed in the sumptuary laws were successfully identified in the excavated evidence.

Resumen: En el presente estudio analizamos la vestimenta de la pintora mexicana Frida Kahlo (1907-1954), enfatizando en la ornamentación de sus vestidos y blusas bordadas, centradas en los rasgos propios de la mujer mexicana. A través de este trabajo reflexionamos sobre las relaciones de la artista y las influencias en la moda. Así, revisamos esta nueva idea de la mujer indígena como modelo de distinción y originalidad en Europa y América, tanto de principios del siglo XX hasta la actualidad. De este modo, Frida es una de las primeras precursoras de una moda propiamente mesoamericana.

Elevating the fan to the status of a byword for the Ancien Régime went hand in glove with an expansion of a sign language which coordinated the rituals at the French court. It was forbidden to open a fan in the presence of the sovereign unless one was making a keynote speech in which case a fan was used as an articulatory aid for demonstration. After 1789, as an attribute of superfluous mores of the French aristocracy, a fan became the subject of satires which mocked the anachronism of the pre-revolutionary dress code.

By looking at several examples of fans which continued to circulate in revolutionary France, I argue that fans not only remained an accessory of great predilection in the 1790s but more importantly the fan was granted a new set of meanings thanks to its intrinsic properties.

In a broader context, my discussion on the use of fans during the Revolution will suggest some ways of thinking about a highly complex issue: what happened to objects regarded as indispensable attributes of a freshly overturned monarchy in the aftermath of the Revolution?

A Documentation paper for my entry in the Kingdom of Ealdormere Pentathlon competition in 2017. This paper is about the creation and hand sewing of a girls’ clothing – Flemish 1560 - Girl’s Smock, Kirtle, Gown/coat, Hat and Apron based on a child in Pieter Bruegel The Elder’s Children’s Games painting.

Focusing on the account book of the MP and antiquary Sir Edward Dering (1598–1644), which covers the decade of his life in which he came of age, was knighted, and embarked on an ambitious political and courtly career, this article argues that his account book was a space in which Dering recorded momentous life events and meditated upon his purchases. Dering reveled in his attire, spending a great deal of money on it, as well as taking the time to record each element of its construction and decorative design in minute detail. Purchasing luxury goods – particularly clothing – was an important way for an ambitious politician to express his social, emotional and political links to patrons, and to show his suitability for promotion. While he begins the account book in 1619 by chastising himself for spending too much in a “prodigal year,” by the end of the account book in 1628, Dering seems content to buy expensive goods, including a costly linen damask tablecloth depicting the story of the prodigal son. This article traces Dering’s acquisition of luxury goods at home in Kent, in London and overseas, and places him in relation to contemporary discourses of luxury and prodigality. It argues that Dering’s consumption of luxury goods was part of a wider project of self-definition, which included having his portrait painted, and even forging his family history.

« Un vêtement nouveau, révolutionnant les garde-robes, vient rarement de nulle part. Le pourpoint du gentilhomme de cour est emprunté au chevalier en armure, le talon est masculin avant de devenir un symbole de féminité, le pantalon des hommes de 1789 déclasse la culotte aristocratique, la redingote n'est autre que le riding coat d'Outre-Manche adapté à la vie urbaine, la marinière conquiert la terre ferme... Ainsi vont les vestiaires : un vêtement s'impose en même temps qu'il passe d'un sexe à un autre, d'un pays à son voisin, d'une classe ou d'une profession à toute la société. En se détachant de sa fonction première, il se charge de codes et devient éloquent.
Dans ce jeu des adoptions et des transferts, Paris, capitale de la mode et plaque sensible de l'histoire, occupe une place toute particulière. Des uniformes militaires aux vêtements de travail, Soline Anthore Baptiste raconte l'histoire de ces étonnants détournements à travers soixante-dix pièces iconiques de la mode. » (Extrait de la 4ème de couverture)

RTE (Irish national broadcaster online article) How Swift’s album title (Folklore) and the accompanying photoshoot’s Aran sweater were calculated to signal authenticity.
https://www.rte.ie/brainstorm/2020/0817/1159600-aran-jumper-taylor-swift-fashion-ireland-steve-mcqueen-marilyn-monroe-clancy-brothers/

Las futuras monjas se preparaban para despedirse de la vida secular, entre otras cosas, alistando el mejor traje que usarían en su vida, mismo que sería empleado en la ceremonia de toma de velo y en muchos caso posando ante el pincel que las plasmaría para la posteridad y recuerdo de la familia. Esta breve entrada reúne algunos datos de estos actos en la Nueva España del siglo XVIII (hoy México) y evidencia el cuidado que las familias ponían en el magnífico vestuario mundano que acompañaría a la religiosa.

This article examines Chinese discourses on dressing the aging female body as a window into the tensions involved in the historical transformation of habitus in early post-Mao China. Drawing on Chinese media articles and ethnographic interviews conducted with Chinese women in their 40s-60s, the analysis compares depictions of new official ideals for older women’s dress that appeared in Chinese government-sponsored feminist mass media with ordinary older Chinese women’s personal sensibilities about dress. Assessing the applicability of dominant western feminist theories of gender, dress, and age, this article provides a historicized culture-specific application of practice theory, examining older women’s struggles with competing moral logics associated with past and present, and with official media versus personal experience. Overall, it documents experiences of ambivalence and compromise accompanying lifecycle adjustment in embodiment in the context of rapid social change.

This paper examines the incomplete ending of Shakespeare's Twelfth Night created by the absence of Viola's female clothing and its relation to the antitheatrical and cultural fear that an actor could become the role he played. When Viola lands in Illyria, she tells the captain that she will disguise herself as a eunuch and seek protection. Yet scholars have been at a loss as to what happens to Viola's plan; her eunuch disguise is often dismissed as an abandoned idea whose first mention was never amended. A dismissal of Viola's castrated identity, however, glosses over the troublesome rejection of the female Viola at the play's closure: the denial of her " woman's weeds " —strangely held by the captain in Act 1 who is strangely imprisoned by Malvolio—inhibits the genre's ritualized removal of disguise and return to the world beyond Viola's performance: Viola, instead of marrying Orsino, leaves the stage called " boy " and " Cesario, " continuing to bear the performed identity of the eunuch who is able to feel desire but never able to consummate it, her name and femaleness denied until a hypothetical " golden time " beyond the play's end. Working primarily with early modern theories of clothing alongside the text of Twelfth Night, I argue that Viola's continued performance of the eunuch theatrically presents the transformative power of costumes and their link to selfhood, a power that, without a change from his character's costume to his original clothes, makes an actor's adopted role difficult, if not impossible, to strip away.

As marchandes de modes e o vestido chemise à la reine (1750-1790) Felipe Goebel* Revista Achiote.com-Revista Eletrônica de Moda v. v. 6, p. 76-93, 2018 RESUMO: O presente artigo analisa as mudanças estruturais do setor de produção de bens indumentários no final do século XVIII na França. Busca elucidar as questões relacionadas ao surgimento de uma nova profissão e guilda feminina-marchandes de modes-responsável pela criação de tendências de estilo a serem seguidas e como isso foi fundamental para o alvorecer do sistema de moda. Palavras-chave: Moda; História da Moda; Antigo Regime. ABSTRACT: The present article analyzes the structural changes of the sector of production of clothing goods in the late eighteenth century in France. We try elucidate questions related to the emergence of a new feminine profession and guild-marchandes de modes-responsible for the creation of style trends to be followed and how this was fundamental to the dawn of a fashion system. "A moda é uma arte", declarou Mercier no Tableau de Paris. "Querida, triunfante arte, a qual, nesse século, tem recebido honras e distinções. Essa arte entra nos palácios de reis, onde recebe lisonjeiras boas vindas. A marchande de modes passa pelos guardas, para penetrar no apartamento onde a alta nobreza não pode entrar." 1 A moda historicamente detém uma poderosa força econômica na França, mas foi somente no final do século XVIII que ela passou a ser denominada, em jornais e revistas, como uma arte e não como um mero ramo do comercio. E os "artistas" responsáveis por essa chamada nova forma de arte eram exclusivamente mulheres, constituíam uma guilda independente e eram chamadas de marchandes de modes. As marchandes de modes são filhas do Setecentos. Antes do século XVIII, elas não se distinguiam dos merciers (mercadores de tecidos) e das couturières (costureiras). Isso devia-se as tradicionais Leis Suntuárias que definiam estritas leis reguladoras de guildas e afazeres, o que fazia com que os diversos ramos da economia indumentária fossem bem definidos e se aglutinassem. De fato, marchande de modes era uma definição tão nova no começo do Setecentos que os contemporâneos se esforçavam para defini-la. A Encyclopédie chama a atenção: "elas estabeleceram-se e se denominam dessa forma há muito pouco tempo; somente desde que deixaram inteiramente o comércio de artigos relacionados a roupa (la mercerie) e assumiram os negócios da moda (les affaires de la mode). 2 Uma importante distinção começava a ser feita entre roupas e moda, entre o processo técnico de cortar e costurar e o reino mais criativo de decorar e estilizar os trajes de um indivíduo. *Bacharel em História e mestrando em História Social no PPGHIS-UFRJ

At the time [I wrote] this essay, I [was] completing a dissertation chapter that focuses on the " I Am… " t-shirts popularized over the past two decades. In the process I [was] forced to contend with the verbal and grammatical limitations of remembrance. This [absence of t-shirts focusing on black womxn] mirrors how women's issues are relegated to an afterthought in not only broad ranging political engagement, but also academic scholarship. [This essay formed the foundation of another dissertation chapter, "A Calling of Names", which focused on t-shirts that featured black women and black LBGT victims of police violence.]

Both chapters are part of my book manuscript in progress, COTTON FRAMED REVOLUTIONARIES: T-SHIRT CULTURE AND THE BLACK PROTEST TRADITION.

Citations:
1. McNair, Kimberly L. “G-d Bless the Dead: A Calling of Names,” The Diaspora Newsletter, a special collection: INSURGENCY: The Black Matter(s) Issue, Fall 2014 – Winter 2015 Edition, December 2014. Print & Web.
2. McNair, Kimberly L. "Cotton Framed Revolutionaries: T-Shirt Culture and the Black Protest Tradition.” PhD Dissertation, University of California, Berkeley, 2017. ProQuest.

Come esposto nel corso del Seminario “Comunicare l’antico Oggi”, tenutosi il 13 e 14 giugno 2018 presso la Escuela Española de Historia y Arqueología en Roma - CSIC, nel nostro contemporaneo sono disponibili numerosi strumenti che permettono di diffondere e far conoscere la cultura dell’antico. Nella società odierna, che ha una delle sue principali caratteristiche nel valore dell’immagine, la moda gioca un ruolo fondamentale come veicolo di divulgazione di cultura e come generatore di identità collettive. Per questo motivo si tratta anche di uno strumento adeguato per la diffusione dell’immagine dell’Antichità, in maniera rinnovata, aggiornata e conforme ai tempi moderni, avendo tale ambito una speciale visibilità in Italia. Prova di ciò sono le collezioni di alcuni stilisti italiani come Versace, Valentino e Dolce & Gabbana, che raccogliendo la forza visiva delle risorse all’antichità, hanno contribuito a plasmare un valore estetico per l’Italia contemporanea che assimila la bellezza italiana attuale con quella classica e, in qualche modo, genera una recupero di identità quando la si distingue, ad esempio, dal resto delle mode europee. Antichità, moda e identità compongono, quindi, un trinomio chiave nell’attuale cultura italiana.

There is a war afoot. One fought with pins and needles, cameras and cartoons. In the following article, I will begin with the history of the corset as an object plagued by misinformation, then I will introduce the misrepresentation of the corset in moving pictures as an abuse of history. To conclude, I will look at the corset's treatment in media as a case study for the capacity of visual media to shape popular perception of history, offering a possible answer to the question: should ahistoricity in film be treated as a dangerous trend, or artistic expression?

Resumen: En el cuadro del confl icto entre la decadente nobleza hispánica de los siglos XV-XVII y la emergente burguesía comercial y productora, la indumenta-ria se afi rma como un documento historiográfi co, pero también como un de los centros mismos del confl icto. La burguesía verá en la exhibición del lujo una de las vías para apoyar su ascenso en la pirámide social, mientras que la nobleza tra-tará de limitar esta estrategia recurriendo a los viejos argumentos que legitiman la desigualdad y, por lo tanto, su hegemonía. La intervención de la monarquía a través de leyes pragmáticas, buscando proteger sus propios intereses, completa el panorama de esta crisis. Abstract: In the context of the confl ict between the decadent Spanish nobility of the XV-XVII centuries and the emerging commercial and productive bourgeoisie, clothing is affi rmed as a historiographical document, but also as one of the very centers of this confl ict itself. Bourgeoisie will see the luxury exhibition as one of the ways to support its own climbing in the social pyramid, while nobility will try to limit this strategy by appealing to the old arguments that legitimize inequality and, therefore, its hegemony. The intervention of the monarchy through pragmatic laws, seeking to protect their own interests, completes the panorama of that crisis.

Le chapitre part d'une réflexion sur la relation qu'entretiennent le vêtement et le temps dans notre culture visuelle. Une iconographie vestimentaire spécifiquement dédiée à l'habit apparaît en effet à la Renaissance. Petit à petit, dans la représentation par l'image, l'habit passe du statut d'emblème identifiant l'espace à celui d'identifiant du temps, temps historique et temps de la mode. Intégré à un discours historique au XIXe siècle, l'habit se fait costume et intègre l'échelle du temps dont il se fait le marqueur visuel dans les ouvrages illustrés consacrés à son histoire propre et à l'instruction à l'histoire nationale. Le cinéma s'empare au XXe siècle de la narration historique et use de l'apparence des personnages comme un marqueur de temporalités dans le genre du « film à costumes ».

Textbook examines fashion design through theory- and skill-based applications.  Diverse approaches to the design process and research methods, historical context, textiles and knitwear, portfolio structures, and professional development are reviewed.  Featured on international college-level required reading lists.  Translated into 9 languages including Chinese, Portuguese, Italian, Spanish, Czech, and German. Over 120,000 copies sold globally.

The advent of the tea room during the adolescence of the department store is not of little significance. This short essay compares two chapters by different authors, from different books, exploring the ways that turn-of-the-century tea rooms and department stores introduced material wealth and 'feminine sensibilities' that complicated social hierarchies. Gender, class and perceived moral goodness play into a new social structure that valued specific behaviors and tastes. Though these new institutions played a supposedly democratizing or gentrifying role, we shall see they often precluded access to the very groups they were meant to elevate.