Results: Text (19) Images (0)

You searched for

Modify your search terms or add filters

Filtered by

Sort by
Results per page
Results showing
1 - 19 of 19 (1 pages)
    Page 1 of 1
From Museum of Costume to Fashion Museum: The Case of The Fashion Museum in Bath

Rosemary Harden

Source: Fashion and Museums. Theory and Practice 2014

Book chapter

The Fashion Museum, previously known as the Museum of Costume, Bath,The Fashion Museum changed its name from the Museum of Costume, Bath, in 2007 following an extensive consultation exercise which found that “fashion” was the term that better reflected both the nature of the collection and visitor expectations. “Costume” was regarded as a term for dress to be put on to play a role, i.e. on the stage. has been situated in the Assembly Rooms in the Georgian city of Bath for nearly fifty years, and

Exhibiting The Body, Dress, and Time in Museums: A Historical Perspective

Anne-Sofie Hjemdahl

Source: Fashion and Museums. Theory and Practice 2014

Book chapter

The headless mannequins are so filled with character that one can easily imagine the missing faces with their hairstyles and hats.

Autobiography as A Proposed Approach to A Fashion Exhibition

Jeff Horsley

Source: Fashion and Museums. Theory and Practice 2014

Book chapter

Before embarking on the construction of my own fashion autobiography, I reviewed a number of recent exhibitions for evidence of fashion autobiographic content. The majority of these exhibitions I had visited personally and documented through photography and notes, supplementing this material through reference to accompanying publications and online resources. Other exhibitions are evaluated solely through review of their catalog. While not ideal, I concluded that such publications could arguably

The Costume Institute at The Metropolitan Museum of Art: An Evolving History

Harold Koda and Jessica Glasscock

Source: Fashion and Museums. Theory and Practice 2014

Book chapter

By 1938, 400 objects had been assembled and Bernstein was presenting a series of talks on costume history. Lewisohn headed the Museum’s committee, planning it as “a source of authentic information and inspiration to stylists, couturiers, designers, and manufacturers” (New York Times 1937: 28). They were joined by textile authority M.D.C. Crawford, who had been instrumental in starting the Design Laboratory (the Brooklyn Museum of Art’s costume study collection), the production designer Lee Simons

Introduction: Understanding Fashion and Dress Museology

Marie Riegels Melchior

Source: Fashion and Museums. Theory and Practice 2014

Book chapter

The question of why fashion has become significantly popular in museums seems at first to offer an almost obvious conclusion: it is a fashion. Like other areas of society, it can be argued that museums are embedded in the discourse of fashion and the attraction of the new. The Swedish ethnologist Orvar Löfgren uses the term “catwalk economycatwalk economy” to describe the contemporary invasion of the fashion industry and its catwalk technologies into the corporate world (Löfgren 2005). The catwal

Contemporary Fashion History in Museums

Marco Pecorari

Source: Fashion and Museums. Theory and Practice 2014

Book chapter

As Alexandra Palmer, AlexandraPalmer argues, the continuous proliferation of alternative forms of exhibiting dress in connection with some specific economic and practical museological reasons brought many fashion museums to favor the exhibition of contemporary dress (Palmer 2008: 36). Such a turn from historical dress to contemporary dress brought diverse fashion museums to dismiss the important tradition of dress history while, at the same time, simplifying the current discussion on fashion hist

Gender Considerations in Fashion History Exhibitions

Julia Petrov

Source: Fashion and Museums. Theory and Practice 2014

Book chapter

It was because of the connections between the worlds of economy and history that historical fashion entered and was interpreted in museums. Indeed, one of the first suggestions for a British museum of costume came from a satire on the consumerist tendencies of fashion-mad women. In an 1847Punch article titled “Hints for the British Museum Commission,” the anonymous author suggested that rather than natural history specimens, examples of fashion might induce “the softer sex to find attractions in

Engaging The Public in Issues of Dress And Identity: A Case Study of Amagermuseet in Denmark

Ingeborg Philipsen

Source: Fashion and Museums. Theory and Practice 2014

Book chapter

In Denmark we do not have a tradition of wearing regional folk dress on special occasions as they do in the other Scandinavian countries, especially in Norway (Haugen 2011). Amager, however, makes an exception for this rule in Denmark: what is known as the Amager folk dress still constitutes a central element in building and reproducing the local community’s identity as does the history of the Dutch settlement. Many local men and women in this community of 11,700 citizens still pursue their Dutch

Learning Through Fashion: The Norwegian Museum of Science and Technology

Tone Rasch and Ingebjørg Eidhammer

Source: Fashion and Museums. Theory and Practice 2014

Book chapter

The educational program is designed for history classes from the third year of high school when students are about 18 years old. It consists of a general tour of the museum exhibition that deals with the Industrial Revolution, focusing on the textile industry. Secondly, the students look at different original primary sources such as letters, an account book, and a sample book from the Hjula archive. After that the students receive a box with copies of selected sources and a question booklet relat

In Conclusion: Museums Dressed in Fashion

Birgitta Svensson

Source: Fashion and Museums. Theory and Practice 2014

Book chapter

brandingtourismMuseu Nacional do Traje e da Moda (Portugal)Museums tend to adapt to management strategies to survive by attracting the growing heritage industry and the tourism economy. When visiting Lisbon in 2011 I found it strikingly easy to find the new fashion and design museum MUDE—Museu do Design e da Moda. It was located in a spectacular architecturally designed building in the very busy city center and shopping district, among the main tourist attractions. The museum tries to convey an i

Understanding Fashion Through The Museum

José Teunissen

Source: Fashion and Museums. Theory and Practice 2014

Book chapter

visual artWhen “Streetstyle: From Sidewalk to Catwalk” opened at London’s Victoria & Albert Museum (V&A) in 1994, it was one of the most significant fashion exhibitions to be based on cultural theory and the book Subculture by Dick Hebdige (Steele 2008: 23).The exhibition was accompanied by the publication of the book Streetstyle by anthropologist Ted Polhemus, who as its creator and curator interpreted the exhibition from an anthropological viewpoint. For the first time, the starting point was n

Collecting Practice: Designmuseum Danmark

Kirsten Toftegaard

Source: Fashion and Museums. Theory and Practice 2014

Book chapter

As an art museum, Designmuseum Danmark is selective in collecting, and the overall collecting criteria constitute a combination of form, function, material, and execution seen from an aesthetic point of view. It has been and still is the intention to collect contemporary as well as historical cutting-edge or leading design, which in one way or another belongs to the avant-garde. As long as it is considered to fall into this criterion, the museum should not differentiate between for instance a pie

Laver, James

Michael Carter

Source: The Berg Companion to Fashion 2010

Encyclopedia entry

Laver was fascinated by the effects that the passing of time has upon people and their works. He was greatly influenced in his theory of time by a notion of zeitgeist, or “time spirit,” a concept taken from nineteenth-century German philosophy. Zeitgeist proposes the existence of a collective psychological, or spiritual, entity that imparts a distinctive pattern of aims and emphases to a culture, nation, or historical epoch. Drawing on this idea of cultural unity, Laver concluded that every aspec

Moore, Doris Langley

Michele Majer

Source: The Berg Companion to Fashion 2010

Encyclopedia entry

Iceland

Æsa Sigurjónsdóttir

Source: Berg Encyclopedia of World Dress and Fashion. West Europe 2010

Encyclopedia entry

Iceland was part of the Danish kingdom from the fourteenth century until its independence in 1944. Despite geographical isolation, Icelanders have always kept up with European fashions. However, artist and antiquarian Sigurður Guðmundsson (1833–1874) encouraged women not to follow European styles, but to adopt a simple everyday dress. His article on the subject in 1857 had an enduring influence on women’s dress in Iceland, although his proposal in 1871 for a men’s national outfit failed. Men’s ev

The Study of Dress and Fashion in West Europe

Lise Skov

Source: Berg Encyclopedia of World Dress and Fashion. West Europe 2010

Encyclopedia entry

The dress and fashion of West Europe have been studied by many scholars. During most of the twentieth century, the analytical framework and specific subject matter were determined by disciplinary divisions. Art historians studied the development of clothing in detail; sociologists analyzed how class antagonisms were acted out in fashion; psychologists studied the fundamental motives expressed in dress; ethnologists documented different folk dress (or regional dress) traditions; semioticians read

Cunnington, C. Willett and Phillis

Lou Taylor

Source: The Berg Companion to Fashion 2010

Encyclopedia entry

Millennium Dress History: Artifacts as Harbingers of Change

Annette Lynch and Mitchell D. Strauss

Source: Changing Fashion. A Critical Introduction to Trend Analysis and Meaning 2007

Book chapter

Material culture studies emerged in the 1970s and 1980s as art historians, archeologists, and folklorists sought methodologies to embed artifact analysis into a cultural analysis approach. First developed as a means of interpreting artifacts commonly studied by art historians and archaeologists, such as pottery, architectural elements, and furniture, the methodology was quickly adapted to the study of textiles and dress in part due to its primary reliance on systematic analysis of artifacts. Jule

James Laver, the Reluctant Expert

Michael Carter

Source: Fashion Classics from Carlyle to Barthes 2003

Book chapter

Clothes are inevitable.

Back to top
Results showing
1 - 19 of 19 (1 pages)
Page 1 of 1