|Module 1 || |
DRESS IN ART: WORLDWIDE
Evenson, Sandra. “Dress in Art: Worldwide,” in the Berg Encyclopedia of World Dress and Fashion, Volume 10, Global Perspectives. Berg Fashion Library, 2010.
Smith, Natalie. “Wearable Art in New Zealand: An Overview,” in the Berg Encyclopedia of World Dress and Fashion, Volume 7, Australia, New Zealand, and the Pacific Islands. Berg Fashion Library, 2010.
Were, Graeme, and Susanne Küchler. “Snapshot: Pacific Patterns,” in the Berg Encyclopedia of World Dress and Fashion, Volume 10, Global Perspectives. Berg Fashion Library, 2010.
- What purposes does dress serve in the arts?
- What can we learn about dress when depicted in the arts?
- If the arts are sources of information about dress, what are their limitations?
- Describe the role of masks in different cultures. How do you use masks in your culture?
- Give examples of dress as art. How do you engage in the art of dress?
- Were and Küchler describe pattern as not just having meaning, but also what “such patterns are intended to make possible.” What do they mean?
- How does Smith define wearable art?
- What impact has this definition of wearable art had?
- Ask students to bring images of dress as art. View the images on the document camera and ask the student to explain their selections.
- Ask students to use Pinterest to collect images of tattoos. Find examples that seem successful as a form of art using the body as a canvas.
- Visit a local art museum and ask students to document what they observe about how the artists use dress to communicate ideas.
- Use the digital resources page of the National Gallery in London for lesson plans using images of actual portraits: http://www.npg.org.uk/assets/files/pdf/picture-descriptions/NPG_SEN_Tudor_Box.pdf and http://www.npg.org.uk/visit/portraitexplorer.php
Read a novel of your choice. As you read, keep a log of references to dress. For example, Hullbaloo in the Guava Orchard by Kirin Desai is a satire on small-town life in India and Desai uses dress to illuminate her characters and society. Log entries might look like this:
Page xxx. Description of Miss Jyotsa’s clothes and what this tells us about her character.
Page xxx. Sampath’s “striptease” at the wedding and what this behavior means.
The purpose of this log is to highlight your awareness of how authors use dress in their writing to help tell the story. When you have completed the book, write a one- to two-page book review which includes a summary of the plot, identification of the main characters, the author’s main themes, and a discussion of how dress was used as a literary device. You might also research fashion magazines of the era depicted in your selected novel for visual examples that match the dress described in the novel as evidence. For examples of book reviews, see Amazon.com or the New York Times’s review of books. Some authors are better than others at using dress as a literary device. Your review may be positive or negative in this regard.
|Module 2 || |
DRESS AS COSTUME
Blausen, Whitney. “Theatrical Costume,” in The A–Z of Fashion, 2005, Berg Fashion Library.
Evenson, Sandra Lee. “Dress as Costume in Theater and the Performing Arts,” in the Berg Encyclopedia of World Dress and Fashion, Volume 10, Global Perspectives. Berg Fashion Library, 2010.
Hecht, Thomas. “Ballet Costume,” in The A–Z of Fashion, 2005, Berg Fashion Library.
Wulff, Helena. “Costume for Dance,” in the Berg Encyclopedia of World Dress and Fashion, Volume 8, West Europe. Berg Fashion Library, 2010.
- How are theatrical costumes similar to everyday dress?
- What factors need to be considered when designing costumes for the stage?
- How do costumes for film and television differ from stage costume? What are their special advantages?
- Describe how performers use dress to create a believable character.
- Relate dress to dance forms. What are the requirements and traditions?
- Ask students to view a film or stage performance in which dance is a key feature—such as White Christmas, An American in Paris, or A Chorus Line—which include several dance forms. Discuss how the body modifications and supplements in the dancers’ costuming relate to the movements of the dance.
- Ask students to watch the Toni awards, the annual recognition of Broadway excellence. The program usually includes scenes from the range of current Broadway shows, including drama and musicals. Discuss the how the costumes support the performance. Alternatively, use a theatrical, dance, or musical performance on campus or in the community.
- Suggest that students view the “extra” at the end of a DVD movie or public television series. The film Memoirs of a Geisha and the BBC mystery series The Bletchley Circle are examples.
- Take a behind-the-scenes tour of the university’s or local theater’s costume shop. Ask to see examples of how costumes are constructed differently than everyday dress.
- In small groups, ask students to describe an occasion when they wore performance dress. How did the form of those body modifications and supplements relate to the form of the performance given? What gave them confidence? What made them self-conscious?
- View two versions of the same film, such as Cleopatra. (1) Discuss the changing meaning given to the historic character Cleopatra by differences in hair, makeup, jewelry, and facial and posture styles through nearly a hundred years of American movie history. (2) Conversely, consider that each form of dress was intended to convey a sexually active and politically powerful female historic character to an audience in the era when each film was made. How is the changing significance of female political power and sexuality from one era to the next revealed in the changing dress? Adapt these considerations to a film of your choice, such as The Great Gatsby, Hamlet, Star Trek, The Ramayana, or Bonnie and Clyde.
|Module 3 || |
DRESS AND ART: WESTERN
Lake, Stephanie. “Snapshot: Dress and the Art Trade,” in the Berg Encyclopedia of World Dress and Fashion, Volume 10, Global Perspectives. Berg Fashion Library, 2010.
Mackinney-Valentin, Maria. “Snapshot: Vintage Dress,” in the Berg Encyclopedia of World Dress and Fashion, Volume 10, Global Perspectives. Berg Fashion Library, 2010.
Rosenbaum, Sandra L. “Dress and Art: Western,” in the Berg Encyclopedia of World Dress and Fashion, Volume 10, Global Perspectives. Berg Fashion Library, 2010.
Stabb, Jo Ann. “Influence of the Arts,” in the Berg Encyclopedia of World Dress and Fashion, Volume 3, The United States and Canada. Berg Fashion Library, 2010.
- In the fifteenth and sixteenth centuries, attention to detail in portraiture served what purposes?
- Describe Louis XIV’s influence on dress and the visual arts.
- How did books, illustrations, and fashion journals contribute to the art of fashion in dress?
- Discuss the relationship between fashion and art in the twentieth century. What is that relationship today?
- Define the term “zeitgeist.” What does it have to do with art, fashion, vintage dress, and architecture?
- Request that students compare and contrast how dress is used in the art forms of painting, sculpture, photography, film, and literature. How do these uses of dress support or conflict with reliance upon these arts as sources of historic information about dress? In small groups, ask students to create a chart with the type of art form on one side and the advantages and disadvantages in the other, and then compare findings with the class.
- Attend an exhibition of wearable art. Ask students to analyze whether some pieces are more wearable than others. Where does “wearable” end and “art” begin? How do the non-wearable forms express current fashion trends or predict the dress of the future?
- The designer Erté was popular in the early twentieth century for his fantastic costumes for the Russian Ballet and is considered to be the father of the art deco movement. Ask students to search the World Wide Web for images of both his costumes and serigraphs. Consider them as costume, wearable art, and art.
Identify a popular trend in do-it-yourself wearable art (for example, tie-dyeing, painting, embroidery, riveting, safety-pinning, slashing, beading). Embellish a garment yourself. Write a journal entry about your inspiration, choice of garment, and technique in relation to the wearability and the artistry of the piece. Also write about how, where, and when you will find this item of dress wearable in your own life.
|Module 4 || |
ART AND FASHION
Baker, Pamela C. and Phyllis G. Tortora. “Influence of North American Indian and First Nations’ Dress on Mainstream Fashion,” in the Berg Encyclopedia of World Dress and Fashion, Volume 3, The United States and Canada. Berg Fashion Library, 2010.
Lunning, Frenchy. “Cosplay,” in the Berg Encyclopedia of World Dress and Fashion, Volume 10, Global Perspectives. Berg Fashion Library, 2010.
McNeil, Peter. “Flowers in the Art of Dress Across the World,” in the Berg Encyclopedia of World Dress and Fashion, Volume 10, Global Perspectives. Berg Fashion Library, 2010.
Wall, Feeonaa. “Pacific Sisters: Urban Pacific Art, Fashion, and Performance,” in the Berg Encyclopedia of World Dress and Fashion, Volume 7, Australia, New Zealand, and the Pacific Islands. Berg Fashion Library, 2010.
- Compare and contrast cosplay with costuming for the theater.
- What are the unique requirements of cosplay dress?
- Compare and contrast cosplay with Pacific Sisters’ use of dress.
- Describe the various ways in which North American Indian and First Nations’ dress has been integrated into world fashion.
- Compare and contrast what Evenson, Baker and Tortora, Rosenbaum, Smith, and Stabb have to say about wearable art.
- Using the World Wide Web, ask students to find images that demonstrate cosplay’s influence on world fashion.
- View 400 Years of Fashion—Anatomy of a Collection, a fifty-two-minute documentary available from the Victoria and Albert Museum’s online store.
- Invite a local artist to talk about how dress is a medium of expression as wearable art or as personal expression.
- If your university has an apparel design or apparel product development program, invite these students to present their lines or their entries to an international design competition such as those run by the International Textile and Apparel Association (www.itaaonline.org).
- Ask students what small artistic decisions they make every day about their own dress. What media do they use to design themselves every day? How do their decisions vary from day to day and why? In small discussion groups, ask them to compare their daily artistic decisions during the dressing process and what those choices might mean.
- Select an haute couture designer from the past or present. Using the Berg Fashion Library’s (BFL) image archive, create a time line of the history of the designer’s art in dress. Compare this time line with the fashion time line on the BFL. Analyze how the designer you selected led (or predicted) fashion trends or developed along independent lines. Identify historical influences on their work.
- Identify a North American Indian or First Nations designer. Research their inspiration and career path. Create a five-minute PowerPoint presentation with images of the designer’s work.
- Using the BFL’s “My Content” feature, compile ten images between 1600 and the present and ten images from around the world that use flowers as a motif. Using McNeil’s framework as a guide, identify the meaning that the floral patterns conveyed.
- Using the Berg Fashion Library, type in the keywords “art fashion.” Select an e-book or the equivalent in readings focused on a theme. Examples include performance across cultures, fashion as museum exhibits, or a discussion of fashion/dress as art. Relate the concepts in this unit to your readings.