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Dress, Self-Fashioning and Display at the Isabella Stewart Gardner Museum

Christine Guth

Source: Dress History. New Directions in Theory and Practice 2015

Book chapter

Isabella Stewart Gardner negotiated a prominent public position for herself in Boston through the establishment of a museum that promoted a different attitude towards art than those founded with the aim of educating the public. She assembled her collection as an individual, producing a competing, but equally ideologically motivated account of what she regarded as art. Her collection embraced the cultures of Europe and Asia, but also gave recognition to products of female craft such as lace. While

Investing (in) Time: Collecting and Consuming the Past

Heike Jenss

Source: Fashioning Memory. Vintage Style and Youth Culture 2015

Book chapter

In Germany, markets for used goods, including clothes, have a long history, yet their patronage from consumers who do not rely on them out of economic necessity emerges, as in other European countries, more widely in the 1970s. Volker Fischer, VolkerFischer’s 1980 book on the “nostalgia market” in Germany provides a comprehensive overview of the development of the trade, and the shift in value of old things in the context of the 1970s, when there is surplussurplus in goods and also (compared to t

The Empress’s Old Clothes: Biographies of African Dress at the Victoria And Albert Museum

Nicola Stylianou

Source: Dress History. New Directions in Theory and Practice 2015

Book chapter

On 20 April 1869 the V&A accessioned a number of objects from Ethiopia including clothes and jewellery that were listed in the museum register as having been given to the museum by the ‘Secretary of State for India’ and ‘belonging formerly to the Queen of Abyssinia’ (V&A 1869). At this time the V&A had not yet been divided into departments with objects being accepted for inclusion in the museum on the grounds of design excellence or as demonstrations of particular techniques. Included in this gif

Appraised, Displayed, and Concealed: Fashion Photography on The Swedish Museum Stage

Anna Dahlgren

Source: Fashion and Museums. Theory and Practice 2014

Book chapter

Röhsska Museet, founded in 1916, is dedicated to fashion, design, and craft. It currently holds a collection of 50,000 artifacts; dresses and accessories and other artifacts from the fashion system, but the collection contains only a handful of fashion photographs.When this text was written in 2011 Röhsska had not a single fashion photograph in the collection, www.designmuseum.se and telephone interview with Anna Billing-Wetterlundh, curator, Röhsska Museet, April 26, 2011. Since then the museum

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

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

Class and Gender in A Museum Collection: Female Skiwear

Marianne Larsson

Source: Fashion and Museums. Theory and Practice 2014

Book chapter

Urban middle-class women have been active in open-air activities and sports since the end of the nineteenth century. When men could easily wear a used woolen suit, women had to challenge the fashion of corseted waists and full-length skirts, as well as the conventions that excluded them from physical exercise in public and outside. In this study, I want to show how women’s desire for outdoor life has influenced their ski clothing according to new social and cultural patterns. With a focus on fema

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

Resources for the Study of European Dress and Fashion in New Zealand

Laura Jocic

Source: Berg Encyclopedia of World Dress and Fashion. Australia, New Zealand, and the Pacific Islands 2010

Encyclopedia entry

The historical factors of settler life inevitably influenced the reasons why clothing has been saved. Much emphasis was placed on fashionable, quality clothing of women, although there have been other kinds of dress acquired and ideas about collecting have changed substantially in the twenty-first century. Regional factors, the scattered location of museums and collections, their particularities of acquisition, and the limited state of research into the subject are discussed below. Little has bee

Resources: Collections of Colonial Dress and Fashion in Australia

Catherine Reade

Source: Berg Encyclopedia of World Dress and Fashion. Australia, New Zealand, and the Pacific Islands 2010

Encyclopedia entry

The Colonial period in Australia began with the establishment of the penal colony of New South Wales in 1788 and ended with the federation of Australia’s six colonies in 1901. By this time the Australian population reached just over 3.7 million, although immigration and birth rates were in decline. During this period Australia attained many hallmarks of a modern society, including urban and regional centers with good shopping facilities, cultural and educational institutions, clothing manufacture

Museum Collections of Dress and Fashion

Eleanor Thompson

Source: Berg Encyclopedia of World Dress and Fashion. Global Perspectives 2010

Encyclopedia entry

Dress has achieved a high profile in museums around the world. There are hundreds of collections of varying quantities cared for in museums of fashion, decorative art, history, natural science, and anthropology. They are curated within their own specialist departments or within larger ones of applied arts, ethnography, or social history. Collections of dress are assembled to reveal changes in design, manufacturing processes, and taste. They are used to record social and cultural customs and recon

Gifting and Collecting

Nicky Gregson and Louise Crewe

Source: Second-Hand Cultures 2003

Book chapter

The previous two chapters have examined movements into and out of second-hand worlds, both journeys of disposal and transformative practices. In both cases, though, we have been interested in circumstances where the relationship to second-hand goods is largely personal and individual, where objects come into (and out of) individual’s ownership and possession rituals, and where it is primarily ‘the consumer’ who decides on purchase and its links to recovery, divestment and disposal.Two exceptions

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