Setting Fashion Into Motion: The Aesthetics of Transition of "Costume Through the Ages" (1911) (original) (raw)
Related papers
Heritage Collections in Support of a Narrative Dressing the Body: Silhouettes and Fashion 1550-2015
ICOM Costume London. Proceedings, 2017
Dressing the Body. Silhouettes and Fashion 1550-2015 is one of four permanent exhibitions on display at the Barcelona Design Museum. It uses the museum's heritage costume collection to support a narrative, the ultimate goals being to increase awareness of a current social concern-the human body-and to provide tools for reflection. Fashion, clothing and the body are the three threads that run through the thesis of the exhibition. In a society in which personal image and fashion are aspects of mass culture, the display seeks to show how clothing has modified the body during various periods of history, with changes that are arbitrary since they depend on the canons of fashion that prevail in each era. We in the museum have taken a museographical approach to the contemporary debate about the body, a powerful presence in the media, in artists' work and in academic studies-by doctors, anthropologists and philosophers-but less so in museums. This exhibition builds a narrative that has a pedagogical purpose in order to make its thesis understandable with a museography that reinforces the narrative.
Restraint and Excess in Fashion: Costume Colloquium V, 16 – 20 November, 2016, Florence, Italy
2017
University of Brighton lecturers, Hannah and Anna, report back from the fifth Costume Colloquium, held in November 2016 in Florence, where Brighton scholars, past and present, were well-represented.
The Evolution of Fashion in the XVIII -XIX Centuries (On the example of a ball gown
Fashion is constantly developing and changing. Fashion is flexible: styles evolve and are adopted at a different pace depending on the wearer's age, location and economic or social status. In our project we are planning to find out what historic events influenced fashion and made a considerable impact upon new trends in fashion in the centuries. In our practical part we aim to make a sketch of a fashionable ball gown of 1812 that is historically informed as well as beautiful.
Towards a New Consideration for the Wearing of Historic Costume
North American Textile Conservation Conference Pre-Prints, 2023
Caretakers of historic costume have long contended with people wearing items held in collections. While early curators photographed garments on live models to accurately present them, by the 1980s, museum professionals recognized that allowing historic costume to be worn contemporarily could cause changes to the condition of the garments that could be at odds with museum conservation ethics. In 1986, professional dress studies organizations issued resolutions stating that historic costume should not be worn in order to prioritize its materiality. However, by 2022, this had become an entrenched position increasingly contrary to movements in the conservation of cultural heritage towards peoples- and values-based approaches balancing concepts of conservation and access across multiple cultures that may advocate for the wearing of costume in some contexts. This paper explores the historical and ethical issues surrounding the wearing of historic costume and focuses on how fashion and textile professionals can work towards a position that advocates for both the material and conceptual integrity of dress.
2008
Minoan ladies, Scythian warriors, Roman and Sarmatian merchants, prehistoric weavers, gold sheet figures, Vikings, Medieval saints and sinners, Renaissance noblemen, Danish peasants, dressmakers and Hollywood stars appear in the pages of this anthology. This is not necessarily how they dressed in the past, but how the authors of this book think they dressed in the past, and why they think so. No reader of this book will ever look at a reconstructed costume in a museum or at a historical festival, or watch a film with a historic theme again without a heightened awareness of how, why, and from what sources, the costumes were reconstructed. The seventeen contributors come from a variety of disciplines: archaeologists, historians, curators with ethnological and anthropological backgrounds, designers, a weaver, a conservator and a scholar of fashion in cinema, are all specialists interested in ancient or historical dress who wish to share their knowledge and expertise with students, hobby enthusiasts and the general reader. The anthology is also recommended for use in teaching students at design schools.
Artl@s Bulletin, 2023
This article aims to demonstrate how early modern costume books attempted to define the identities of Europeans. They presented a system of social stratifications, describing the presumed differences between people of various origins, age, gender, and, above all, social position. The existence of these differences was presented as part of an order not only social and political but also moral and religious. On closer inspection, however, it becomes apparent that these differences had as much to do with actual cultural disparities between people as with the different perspectives and attitudes of the authors of the individual books.
2015
Costuming a theatrical show is a complex process, from the initial design concept to opening night, the journey through the design and construction of a period costume worn for a live performance requires collaboration and compromise with director, designer, performer and the costume team. Aesthetics of design, colour, silhouette, cut, fit, practicality and finish all need careful consideration. Key to this process is the choice of materials used to interpret the designer’s vision and portray the character of the performer to the audience. This research aims to document the role and development of textile design and implementation for theatrical performance costume, where a historical reference or period has been used as inspiration for the design concept. A selection of qualitative research methods are employed to collate and analyse information through historical research, object based research using case studies of surviving theatrical costumes and interviews with practitioners i...
This essay considers the role of artefacts in the historical study of dress and fashion and suggests the existence of three different approaches. The field of history of dress and costume has a long tradition going back to the nineteenth century. It adopts the methodologies of art history and considers artefacts as central to the analysis of different periods and themes. In the last few decades the emergence of fashion studies has been interpreted as a distancing from artefacts. It is here claimed that fashion studies brought theoretical rigour and embraced a deductive methodology of analysis in which artefacts still played an important function. The final part of this essay introduces the reader to what I call the material culture of fashion, a hybrid methodology borrowed from anthropology and archeology in which the object is central in the study of social, cultural and economic practices that are time specific. It shows in particular the challenges and paybacks of such an approach.