heritage

Case Report The Importance of Knowledge of Provenance for the Provenance of Knowledge: The Case of Traditional Costumes Collections in

Eleni Papathoma

Curator at Museum of Culture, Thespidos 8, GR-105 58 , Greece; [email protected]

 Received: 31 January 2019; Accepted: 15 February 2019; Published: 19 February 2019 

Abstract: In Greece there are several collections of “traditional costumes”, i.e., garments with a strongly local character, which were in use up to the early 20th century. “Traditional costumes” are directly linked to Modern Greek folk culture: they were formed in its context and they are its most typical and obvious image. They have often been used as a national icon and are popular with people of all ages, who admire them and, on occasions of national celebrations and dance festivals, take pleasure and pride in dressing in replicas of them. Since they have stopped being worn many decades ago, the existing collections are a major source for their study, and they are respectfully referred to by scholars, the public and makers of replicas. The provenance of these collections—the criteria used, the persons involved, the purposes served, etc.—deeply affects the extent and the nature of our knowledge on the objects included in them. Given the inadequate information usually recorded on provenance issues, a thorough search of all potential sources with an aim to put together ‘biographies’ of collections will help to understand the collecting context of the objects and their respective historical and interpretational value.

Keywords: provenance; collections; dress history

1. Introduction: Greek Traditional Costumes: Historical Evidence, Living Heritage, Identity Symbols

I have been the curator of the costumes collection at the Museum of Modern Greek Culture since 2012. One day I received a phone call from a woman who represented a folk-dance group from a Greek town. She asked for permission to photograph the women’s costume of the nomads of Pindos which was on display at the Museum (Figure1), in order to have replicas made for use in her group’s performances; no other dance group in their region used such a costume, she said, so it would help theirs stand out. She then asked why the mannequin wearing it at the exhibition had blonde hair: did this mean that the women who used to dress like this were mostly blonde? Because, she said, if that was the case, they would have blonde wigs made to wear themselves when dancing dressed in this costume. This incident shows quite vividly that people look to museums as reliable sources of the “authentic” knowledge of things. But to what extent do the museums actually possess the “authentic” knowledge demanded? Although a museum may admit to not knowing the hair color of the original wearers of a costume, is it, at least, certain that the costume in question is adequately documented in order to be presented as historical evidence and used as such? The limits of this kind of certainty are the core of this paper’s discussion [1].

Heritage 2019, 2, 708–716; doi:10.3390/heritage2010045 www.mdpi.com/journal/heritage Heritage 2019, 2 709 Heritage 2019, 3 FOR PEER REVIEW 2

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36 FigureFigure 1. Traditional1. Traditional costume costume of theof the Pindos Pindos nomads. nomads. Museum Museum of Modernof Modern Greek Greek Culture, Culture, Reg. Reg. No. No. 3448. 37 3448.

38 AlthoughThis incident in the showsGreek bibliography quite vividly there that people are several look publications to museums regarding as reliable “traditional” sources of the dress, 39 little“authentic” has been written knowledge yet on of the things. ways But it has to beenwhat collected, extent do preserved the museums and presented actually possess and even the less 40 on“authentic” how these processesknowledge have demanded? affected Although our knowledge a museum of may it. Besides admit to scarce not knowing approaches the hair to individualcolor of 41 collectionsthe original [2] orwearers specific of subjectsa costume, [3 ],is thereit, at hasleast, been certain a courageous that the costume attempt in byquestion the Hellenic is adequately Costume 42 Societydocumented to map in “the order existing to be presented dress collection as historical landscape” evidence and in a used survey as such? analyzed and presented by 43 PolitouThe limits at theof this “Endyesthai” kind of certainty Conference are the incore 2010 of this [4]. paper’s At around discussion the same [1]. time, in 2011, Marina 44 Vrelli-ZachouAlthough and in Nadia the Greek Macha-Bizoumi, bibliography in there their are essay several on the publications local dress regarding of the Thassos “traditional” island [5], 45 tookdress, a crucial little has step been forward, written not yet onlyon the showing ways it has how been the collected, existing preserved museum and collections presented are and a valuable even 46 sourceless for on the how study these of processes historical havedress affectedbut also stressingour knowledge the importance of it. Besides of surveying scarce approaches museum records to 47 whenindividual using museum collections objects [2] oras specific a source. subjects Carrying [3], there this has argument been a courageous a bit further, attempt my paper by the here Hellenic suggests 48 thatCostume more attention Society needs to map to be “the paid existing to the provenance dress collectionof both individual landscape” objects in a survey and of whole analyzed collections, and 49 in orderpresented to assess by Xenia the potentialPolitou at ofthe their “Endyesthai” information Conference and interpretation. in 2010 [4]. At around the same time, in 50 2011, Marina Vrelli-Zachou and Nadia Macha-Bizoumi, in their essay on the local dress of the Focusing on the “traditional costume” collections existing in Greece today, I will attempt to 51 Thassos island [5], took a crucial step forward, not only showing how the existing museum describe how these were created and why they are important both as a historical source and in 52 collections are a valuable source for the study of historical dress but also stressing the importance of respect of identity issues. I will then attempt to draft a roadmap for the work that could be done 53 surveying museum records when using museum objects as a source. Carrying this argument a bit when searching for their provenance and conclude with how this could lead to a reconsideration of 54 further, my paper here suggests that more attention needs to be paid to the provenance of both 55 establishedindividual perceptions objects and aboutof whole ‘traditional’ collections, dress. in order to assess the potential of their information and 56 interpretation. 2. Collections of Traditional Costumes in Greece: Origins and Development 57 Focusing on the “traditional costume” collections existing in Greece today, I will attempt to 58 describeIn Greece how there these arewere many created collections and why ofthey the are so-called important “traditional” both as a historical or “local” source costumes, and in i.e., 59 specimensrespect of of identity dress used issues. in GreekI will then areas attempt from the to 18thdraft centurya roadmap onwards for the [6work]. The that political, could be social done and 60 economicwhen searching circumstances for their of provenance the time favored and conclude a community-structured with how this could systemlead to ofa reconsideration administration of and 61 living;established spending perceptions all their about lives ‘traditional’ within the boundariesdress. of their community, its members came to be strongly defined by this community, and identified with it in every way, their dress habits included. 62 2. Collections of Traditional Costumes in Greece: Origins and Development This resulted into the development of different dress types, each one typical of a particular community 63 and its geographicalIn Greece there location are many and easily collections recognizable of the so-called as such. “traditional” Simple and plain or “local” in their costumes, everyday i.e., form, 64 thespecimens same types of of dress garments used in were Greek more areas decorated from the and 18th impressive century onwards in their [6]. wedding The political, and festive social versions. and 65 Theyeconomic often bore circumstances elements indicating of the time the favored age, and a community-structured the marital and social statussystem of of the administration wearer, thus servingand as a social code inside the community. As a result, both daily and festive outfits were standard and

Heritage 2019, 2 710 specific sets of garments, which were made in standard and specific forms, and worn in a standard and specific order. Variation was limited to the decorative motifs (as a consequence of taste, dexterity, creativity and so on) and the quality of textiles and making (according to a person’s or family’s capabilities, priorities etc.). Conformity to such dress standards resulted in a quite apparent uniformity in people’s appearance within each community. Because of these characteristics the word “costume” is often used when referring to this kind of dress. For as long as the change of the communities was slow, the change in their dress was slow, too. But in the course of the 19th century, radical changes in all aspects disrupted the structure and nullified the substance of the local communities, eventually wiping out the old lifestyle and the costumes related to it. Not all “traditional” outfits were abandoned at the same time. This was a process that began in the early 19th century, culminated in the turn from the 19th to the 20th century and concluded with World War II. During this period of over 100 years, while their actual users discarded them as out-of-date, inconvenient and inappropriate for their changed—or aspiring to be changed—lifestyle, the intellectual and social elite, both home and abroad, developed a gradually increasing interest in them. Collecting exotic curiosities and exhibiting them as prestigious home decorations, had been wide-spread in the Victorian and Edwardian Britain and other European countries [7] (pp. 29–64). Furthermore, by the last quarter of the 19th century, admiration for the “pure” folk culture of rural communities that had remained “unspoiled” by the industrialized and urbanized Western life, led scholars, artists, aristocrats and wealthy bourgeois all over to an enthusiastic search and preservation of their clothes, textiles, utensils, etc. [8]. Alongside this, the Arts and Crafts movement was quickly gaining ground, generating, among other things, a wish to provide training, inspiration and opportunity for employment in craftwork. All the above shaped the intellectual and social milieu in which British archaeologists and diplomats positioned in Greek areas (such as Theodore Bent, R.M. Dawkins, A.J.B. Wace and Thomas Backhouse Sandwith) started to notice, collect, publish and exhibit elaborate Greek embroideries, including garments ([9,10]; [11] p. 263; [12]). Affected by the same milieu, but also in an effort to build up a national image based on the perception of Greek culture as a continuum from the antiquity to the present, Greek State authorities, institutions and individuals also began collecting and exhibiting folk handicrafts. The abandoned garments were treated as art works, heirlooms worthy of safeguarding, decorative items, commodities with trade value, and models for contemporary craft production. Collections were created, books were published, museums and craft schools were founded, dance groups were set up, and folk handicrafts featured as urban domestic decoration. Having its origins in late 19th and early 20th century, this trend came to dominate intellectual and artistic life in the 1920s and 1930s, the crucial—for the development of modern Greek mentality and identity—period between the two World Wars. From the 1950s to the 1970s, after the catalytic effect WWII and the subsequent Civil War had on people’s lives in villages and towns, and in the framework of the sweeping urbanization, a salvation agony further fuelled the collective motivation of all already involved in the trend: to rescue for eternity whatever was left of the ‘extinct’ folk culture. Itinerant sellers rummaged the country and sold items to museums and private collectors by the lot. A typical example, the Museum of Modern Greek Culture holds hundreds of almost identical aprons, chemises, and socks purchased in that period and in the name of safeguarding as well as creating complete series for classification and study purposes. An interest in collecting; an idealized perception of the “folk” and an urge to protect them from industrialization and urbanization; the Arts and Crafts movement; and, in the case of Greece—and other Balkan and European countries as well ([13] pp. 201–228; [8])—a need to prove continuity from the past and build national identity and the State; these were, more or less, the motivations that instigated and sustained costume collections in Greece from the late 19th century onwards. Heritage 2019, 2 711

Collectors, researchers, genre artists, museum founders, directors and curators, patrons of craft schools and other institutions: the persons who shared the above motivations also shared a similar social, economic and ideological profile. They were usually bourgeois, well-read and well-off people, in other words the social, intellectual and artistic elite of their time. Actually, most of them had no “organic” association with the life-structure and life-style of the “folk” and regarded them, more or less, as exotic. Some objects were collected in situ, purchased directly from their owners’ trunks in villages and small towns. But far more were the ones bought from antique-sellers and peddlers. Although important, their intermediation in the collecting process has not yet been adequately acknowledged and studied [14]. They were the ones in immediate and frequent contact with the actual users, and the actual places of use, of the objects. The information they gave on the geographical origin and the general function of a garment was often the only documentation recorded. The practice of combining different clothes in order to put together costumes that were seemingly complete or just more appealing to the buyer was not unusual. Their intervention in mending or “improving” the often worn-out clothes cannot be ruled out either. Their clients’ tastes and demands both guided their choices and were guided by them. All these factors form a perplexed grid of ties and links. Sellers’ profiles, their criteria of choice, their level of knowledge, their perception of professional ethics, and their relationship with the collectors, have considerably affected the objects collected and what is known about them. The motivations and the profile of both collectors and their providers have largely defined the content of the collections: the kind of items and information collected, and the way they were interpreted and presented. To a great extent they also account for the kind of items and information that have been left out. The collecting process roughly sketched above valuated garments as admirable handicrafts, continuity proofs and identity symbols. Classifying each collected item under a certain dress type and referring it to a certain geographical and cultural terroir was enough for its documentation. Techniques and decorative motifs also enjoyed attention, in an aesthetic and artistic point of view or to the end of revealing intrinsic ties with antiquity. Up to the 1990s, investigating the particular details of the history of an object—its biography—was not in the scope of scholarly research and museum recording (unless it could be linked to a well-known person or family). Evidence on individual makers’ and users’ biographies; on places, times and circumstances of making and use; on the course from use to disuse and then to the museum, was not recorded. The same reasons explain why the pursuit, at a museum, research and political level, was for the beautiful, the impressive and the “appropriate”. Undecorated, humble, worn-out garments did not have a place in the collection practice [5] (p. 47); neither did the garments identified with cultural and/or ethnic groups that were excluded from the mainstream national narrative.

3. The Use of “Traditional Costumes” Today Meanwhile, since the 1830s and the foundation of the Greek State, local costumes in their most glamorous and luxurious versions were turned into national costumes and military uniforms. To this day they have been used as a basic element of the national image by the major national institutions: the State, the army, the school. It is worthy of notice how the narrow limits of the specific locality characterizing these costumes in the first place have been stretched to coincide with the much broader boundaries of the national State, whose very establishment was a victory over the defining locality of the community-structure system. Heritage 2019, 2 Heritage 2019, 3 712FOR PEER REVIEW 5

Heritage 2019, 3 FOR PEER REVIEW 166 Since the 5 1910s folk-dance groups were set up, who were teaching, and publicly performed, Since the 1910s folk-dance groups were set up, who were teaching, and167 publicly local performed, dances. While many of these groups initially collected and used original costumes in their 166 Since the 1910s folk-dance groups were set up, who were teaching, and publicly performed, local dances. While many of these groups initially collected and used original168 costumesperformances, in their later on they put aside the original ones and used replicas instead. 167 local dances. While many of these groups initially collected and used original costumes in their performances, later on they put aside the original ones and used replicas instead.169 Nowadays “traditional costumes” can be seen worn quite often: by the Guard at the 168 performances, later on they put aside the original ones and used replicas instead. 170 Tomb of the Unknown Soldier in front of the Greek Parliament; by ceremonial groups receiving 169 NowadaysNowadays “traditional “traditional costumes” costumes” can be seen worn worn quite quite often: often: by by the the Evzones Evzones Guard Guard at the at the 170 TombTomb of theof the Unknown Unknown Soldier Soldier in front in front of the of Greekthe Greek Parliament; Parliament; by ceremonial by ceremonial groups171 groups receivingforeign receiving foreignofficials; by schoolchildren in parades honoring national anniversaries; in dance 171 officials;foreign by officials; schoolchildren by schoolchildren in parades honoring in parades national honoring anniversaries; national anniversaries; in dance172 performancesperformances in dance at at public spaces (Figure 2), on television shows; and so on. The costumes actually used 172 publicperformances spaces (Figure at public2), on spaces television (Figure shows; 2), on television and so on. shows; The costumes and so on. actually The costumes173 used inactuallyin most most ofused of these these instances are replicas, often made of lighter and cheaper materials than the originals. 173 instancesin most are of these replicas, instances often are made replicas, of lighter often and made cheaper of lighter materials and cheaper than thematerials originals.174 than They theThey originals. are are usually usually identical for all members of a group, and people have come to call them “uniforms” 174 identicalThey are for usually all members identical of for a group,all members and peopleof a group, have and come people to call have them come “uniforms” to 175call them ( (στολ“uniforms”στoλ ές ς)) more more often than “costumes” (φορεσι έ ς). Still, their makers and users aim at, and are 175 often(στολές than) “costumes” more often ( thanϕoρεσι “costumes”ς). Still, their (φορεσιές makers). Still,and users their aim makers at, and and are users176 confident aimconfident at, of and historical are of historical accuracy and authenticity in form and appearance. As this is perceived to be a 176 accuracyconfident and of authenticityhistorical accuracy in form and and authenticity appearance. in form As and this appearance. is perceived As to this177 be is a perceived mattermatter of to nationalof be nationala identity and pride, trust in historical validity and claims of authenticity are 177 identitymatter and of pride,national trust identity in historical and pride, validity trust and in historical claims of authenticityvalidity and are claims important.178 of authenticityimportant. are 178 important.

179 179

180 FigureFigure 2. 2.Theater Theater and and dance dance performanceperformance for the the national national anniversary anniversary of of25 25180March March 2014. 2014. Figure 2. Theater and dance performance for the national anniversary of 25 March 2014. 181 4. In4. In Search Search of of Provenance: Provenance: Putting Putting TogetherTogether Biographies of of Collections Collections and and 181Objects Objects 4. In Search of Provenance: Putting Together Biographies of Collections and Objects 182 “Traditional costumes” collections are valuable a) because of the significance this kind of wear “Traditional costumes” collections are valuable a) because of the significance182 this kind“Traditional of wear costumes” collections are valuable a) because of the significance this kind of wear 183 had, and still has, for national image, narrative and aspirations, for the collective and individual had, and still has, for national image, narrative and aspirations, for the collective183 andhad, individualand still has, for national image, narrative and aspirations, for the collective and individual 184 identity; and b) because the extant clothes (dated roughly from the 18th to the mid-20th century) and identity; and b) because the extant clothes (dated roughly from the 18th to the184 mid-20th identity; century) and and b) because the extant clothes (dated roughly from the 18th to the mid-20th century) and 185 the collections of them can be useful historical sources which, I think, have not yet been fully 185 186 theexploited collections and of meaningfully them can be usefulrelated historical to other available sources which,sources I(archival, think, have visual, not yetoral been etc.)the fullyof thecollections exploited same of them can be useful historical sources which, I think, have not yet been fully 187 andtime meaningfully for the study related of various to other historical available issues sources besides (archival, folk culture visual, or dress oral etc.)history.186 of the sameexploited time for and the meaningfully related to other available sources (archival, visual, oral etc.) of the same 188 study ofAn various important historical parameter issues affecting besides folk the culture kind and or dress validity history. of the information187 thattime mayfor the be study of various historical issues besides folk culture or dress history. 189 providedAn important by a historical parameter costume affecting in a the collection, kind and museum validity or of the other, information is its provenance188 that may: how beAn providedit wasimportant parameter affecting the kind and validity of the information that may be 190 byacquired a historical and costume what is known in a collection, about its “life” museum before. or other,The same is its stands,provenance proportionally,: how189 it was forprovided a acquired historical by and a historical costume in a collection, museum or other, is its provenance: how it was 191 whatcostumes is known collection about as its a whole: “life” before.its potential The as same a source stands, for the proportionally, understandingfor of190 material a historical acquired culture costumes and and what is known about its “life” before. The same stands, proportionally, for a historical 192 collectionas a field as for a whole: different its potentialinterpretations as a source is largely for thedependent understanding on its provenance of material:191 the culture waycostumes it and has as been a collection field as a whole: its potential as a source for the understanding of material culture and 193 forcreated. different interpretations is largely dependent on its provenance: the way it has192 beenas created. a field for different interpretations is largely dependent on its provenance: the way it has been 194 SinceSince the the provenance provenance of of both both individualindividual objects and and collections collections as as entities entities193 deeply deeplycreated. affects affects our our 195 knowledgeknowledge of of them them and and their their interpretationalinterpretational potential, it it is is critical critical to to ask ask questions194 questions such suchSince as the as the the provenance of both individual objects and collections as entities deeply affects our 196 followingfollowing [15 [15]] (pp. (pp. 115–117): 115–117): With With whatwhat criteriacriteria and intentions intentions were were these these clothes clothes195 collected? collected?knowledge What What of them and their interpretational potential, it is critical to ask questions such as the 197 waswas preserved preserved and and what what was was left out? left out?Which Which routes routes did the did objects the objects follow followon196 their on way theirfollowing to collections, way to[15] (pp. 115–117): With what criteria and intentions were these clothes collected? What 198 collections, who and what came in their way? To what extent was their form affected, altered or who and what came in their way? To what extent was their form affected, altered197 or distorted?was preserved How and what was left out? Which routes did the objects follow on their way to 199 distorted? How much and what kind of information were they “allowed” to carry along? How sure much and what kind of information were they “allowed” to carry along? How198 sure cancollections, we be of their who and what came in their way? To what extent was their form affected, altered or 200 can we be of their “authenticity”? Also, what really is the measure by which to judge “authenticity”? “authenticity”? Also, what really is the measure by which to judge “authenticity”?199 distorted? How much and what kind of information were they “allowed” to carry along? How sure 200 can we be of their “authenticity”? Also, what really is the measure by which to judge “authenticity”?

Heritage 2019, 2 713

To an extent, the provenance of a collection—its history—is constituted by the individual histories of both the objects which comprise it and the subjects who contributed in its creation and development:

1. Collectors, private or institutional 2. “Administrators”: museum directors and curators, conservators, exhibition planners; collectors’ descendants, heirs and successors; managers, dressers and members of dance groups 3. “Providers”: antique-sellers, “traditional” costume makers, users and their descendants, systematic and circumstantial collectors 4. Researchers, scholars, academic teachers, artists etc.

Surely the history of a collection is not just the sum or even the product of the histories of the persons involved in it; but their biographies will definitely illuminate its provenance [16,17]. Furthermore, the composition of a collection’s own biography can borrow elements from the methodology applied when putting together a person’s biography. A detailed questionnaire should cover the circumstances of the collection’s birth and growth, the stages and landmarks of its “life”, persons associated with it, facts that affected it, places where it “lived”, time periods of its “life” and so on. Since a collection is not a person to be interviewed, answers will have to be sought from a variety of sources:

1. The life, work and material left from persons associated with it in the past 2. Interviews with persons associated with it in the present In both cases, persons from all categories defined above (i.e., collectors, curators, sellers, researchers etc.) should be investigated, with an emphasis on revealing their particular motivations and attitudes in the collection and interpretation processes, as well as their background, mentality and overall profile. 3. Records and archives of any kind: museum registries, inventories and catalogues, fiches, documents, invoices, collectors’ lists and notes etc. 4. Articles and books, exhibition catalogues, publications, magazines and scholarly journals 5. Photographs of: objects, storage, exhibition premises; or, in the case of dance groups’ wardrobes, of performances, parades etc. 6. Last but not least, the objects themselves: search for signs, stamps, signatures, hand-written names, labels, any material marks of their origin and different contexts of their use; study their morphology (indicative of the place of making, the techniques and materials used, their makers’ and users’ technical, economic, social, and aesthetic profile); spot alterations and mends, different stitches and threads; etc.

The collection should then be compared with, and related to other collections of the same type, in order to spot similarities, differences, and relevancies. Finally, the resulted information should be placed in a wider setting, and linked to the social, political, economic, ideological etc. context and historical events. The above may apply when investigating the provenance either of a whole collection or a single object. Nowadays, at the Museum of Modern Greek Culture we meticulously gather all kinds of information when acquiring a clothing item: oral testimonies (interviewing the owner/s and user/s), documents, photographs etc. [18,19]. However, for the majority of the clothes in our collection, acquired from its establishment in 1918 until the 1990s when research interests changed, there is no information on the particular details of their making and use. The same stands for all the existing dress collections. The exhaustive search outlined above aims not only at retrieving more information on the use context(s) of an object, but also at better understanding its collection context(s), i.e., a) the context of the very act of it being collected and b) the overall collection in which an object is included. In other words, we should extend our search from the historical circumstances of an object’s manufacture and use to the historical circumstances of its “discovery”, “rescue” and “acquisition” [20]. Heritage 2019, 2 714

Its transformation into a collection-worthy item and its life thereafter is, from a historic point of view, an equally “responsive”—although to different questions—stage in its life. Heritage 2019Heritage, 3 FOR 2019 PEER, 3 FORMany REVIEW PEER of REVIEW the objects existing today in public and private collections in Greece were7 provided7 by the same people: antique-dealers and peddlers, researchers, and big and small collectors. Knowledge 253 253Knowledge Knowledge on theon the lifeon lifetheand andlife deeds and deeds of deeds each of each ofone each oneof thes one of thesee of providers thes providerse providers would would shed,would shed, if shed,not if a not ifstronger, not a stronger, a stronger, surely surely surely a different 254 254a different a different lightlight on light onthe theonobjects objectsthe objectsthat that passed passedthat passedfrom from th theirfromeir hands. hands. their hands.All All interested All interested parties,parties, startingparties,starting withstarting with museums, with could 255 255museums, museums, couldshare share could information information share information and and create create and a repository,a create repository, a repo where wheresitory, gradually graduallywhere gradually each each provider’s provider’s each provider’s profile profile will profile be sketched, 256 256will be willsketched, be sketched,links links and and links courses courses and will courses will be be trailed, willtraile bed, connections traileconnectionsd, connections and and relations relations and betweenrelations between people,between people, objects people, objects and objects ideas will be 257 257and ideasand will ideas berevealed willrevealed be [revealed21 [21].]. ICTs ICTs [21]. provide provide ICTs abundant provide abundant abundant means means for formeans the the realization realizationfor the realization of suchof such a project. ofa project.such a project.

258 2585. In Conclusion:5. In Conclusion:5. InRedefining Conclusion: Redefining our RedefiningPerception our Perception ourof “Traditional Perception of “Traditional of Costumes” “Traditional Costumes” Costumes” 259 259 ProvenanceProvenance of Provenanceknowledge of knowledge on of knowledgehistorical on historical dress on historicalis dress a long is dressaand long uncertai is and a long uncertain path and uncertainnrunning path running through path runningthrough through 260 260knowledge knowledge of provenanceknowledge of provenance ofof provenancethe extantof the items,extant of the i.items, extante., through i. items,e., through antique-dealers, i.e., through antique-dealers, antique-dealers, peddlers, peddlers, collectors, peddlers, collectors, collectors, 261 261museum museum directorsmuseum directors & curators, directors & curators, artists, & curators, researchers,artists, researchers, artists, craft researchers, patrons craft patrons and craft so patronson.and so on. and so on. 262 262 CollectionCollection is generallyCollection is generally regarded is generally regarded as an act regarded as of an re actscue, asof resafeguarding anscue, act ofsafeguarding rescue, and safeguarding preservation. and preservation.and However, preservation. However, at at However, 263 263the samethe time same atit timeis the an same itact is ofan time loss,act it ofdamage is loss, an actdamage and of loss,exti andnction. damage exti nction.Every and timeEvery extinction. an time item an Everyis item“collected”, time is “collected”, an itemit is is it “collected”, is 264 264removed removed from ait givenfrom is removed a context, given from context, and a givena certain and context, a certainamount and amount of a certaininformation of amount information is ofirrevocably information is irrevocably lost; is irrevocablya number lost; a number of lost; a numberof of 265 265potential potential perspectivespotential perspectives for perspectives its interpretation for its interpretation for its are interpretation ruled are out. ruled Likewise, are out. ruled Likewise, every out. Likewise,time every an time item every an is “collected”,item time is an “collected”, item is “collected”, 266 266many othersmany areothersmany not, are othersas not,a result areas not,a of result either as a of result selection either of eitherselection procedures selection procedures or procedures chance. or chance. More or chance. often More than More often not, often than this thannot, not,this this one 267 267one itemone is ladenitemitem is with laden is ladenthe with burden with the theburdenof “representin burden of “representin of “representing”g” a wholeg” a category,whole a whole category, not category, necessarily not not necessarily necessarily because because it becausehas it has it has been 268 268been verifiedbeen verified toverified have to the have to typical have the the typicalfeatures typical features of features the ca oftegory, ofthe the ca category,tegory,but just but because but just just because it because happens it ithappens happensto be the to to“one” be be the the “one” “one” extant 269 269extant sampleextant sampleofsample it. That of of it. is Thatwhy isisthe whywh biographyy the the biography biography of a collection of of a collectiona collection should should shtryould tryto spot totry spot toand spot and explain explainand explain its its shortcomings its 270 270shortcomings shortcomings (in(in all all aspects: (in aspects: all aspects: collecting, collecting, collecting, recording, recording, recording, documenting, documenting, documenting, managing, managing, managing, presenting presenting presenting and andso on)and so as on)so on) as wellas as its 271 271well as wellits assets. as itsassets. Whenassets. When approaching When approaching approaching a collection, a a collection, collection, we should we we should shouldalso listen also also to listen listen its “silences”,to to itsits “silences”,“silences”, since what sincesince it what it doesn’t 272 272doesn’t doesn’t “say” is “say”“say” equally isis equallyequally interesting interestinginteresting with what withwith it what what“says”. itit “says”. “says”. 273 273 The wayThe and way theThe and reasons way the andreasons that the a specific reasonsthat a specific type that aof specific typeclothes of typeclotheswas ofcollected was clothes collected in was Greece collected in Greecefrom inthe from Greece late the from late the late 274 27419th until19th the until late19th the 20th until late century the20th late century has 20th led centuryhasto a led specific to has a ledspecific perception to a specificperception of this perception kindof this of kindwear of this of as wear kind “costumes” ofas wear“costumes” of as “costumes” of of 275 275local originlocal butoriginlocal national but origin national significance, but national significance, characterize significance, characterized as characterized precious,d as precious, picturesque, as precious, picturesque, beautiful, picturesque, beautiful, symbolic, beautiful, symbolic, symbolic, 276 276conservative, conservative, collective,conservative, collective, and so collective, on.and Even so on. andthe Even verbal so on.the treatmentverbal Even thetreatment of verbal the existing of treatment the existing collections of thecollections existingtestifies testifies that collections that testifies 277 277their purposetheir purpose sothat far their hasso purposefarbeen has to been sofunction far to has function as been arcs to asof function arcscertified of ascertified “authentic” arcs of “authentic” certified and “authentic”“complete” and “complete” andsets “complete” of sets of sets of 278 278clothing: clothing: they clothing: arethey called are they calledcollections are called collections collectionsof “costumes” of “costumes” of “costumes” (ενδυμασ (ενδυμασ ( ενδυµασί ες) andί εςες) and)”costume and ”costume ”costume parts” parts” parts”or or “accessories” or 279 279“accessories” “accessories” (εξαρτ(εξαρτ (ήεξαρτµατα ματα); );ή an ματαan individual individual); an individual item, item, such such item, as as a such chemisea chemise as a or chemise aor coat, a coat, isor no ais more coat,no more thanis no athan more “part”, a than i.e., a it cannot 280 280“part”, “part”,i.e., it cannot i.e.,stand it standcannot on its on stand own. its own. on Gathering its Gathering own. asGathering much as much information as information much information as as possible possible as from possible from any any from probable probable any probable source will help 281 281source sourcewill help willtransform transform help transform “costumes “costumes “costumes collections” collections” collections” to “dress to “dress collections”, to collections”,“dress sincecollections”, thesince quest the since today quest the is today shiftingquest istoday from treasuringis 282 282shifting shifting from treasuring typicalfrom treasuring outfits typical of atypicaloutfits totem-like outfitsof a statictote ofm-like a quality tote m-likestatic and quality astatic national qualityand sacredness a nationaland a national to sacredness understanding sacredness to dress to habits 283 283understanding understanding anddress forms habits dress as and ahabits particular forms and as forms area a particular of as both a particular material area of andareaboth immaterial ofmaterial both material and culture, immaterial and inextricably immaterial culture, related culture, to all other 284 284inextricably inextricably relatedaspects relatedto all of other life to andall aspects other culture. aspectsof life and of life culture. and culture. 285 285 Furthermore,Furthermore, afterFurthermore, acknowledging after acknowledging after acknowledgingthe “filters” the “filters” involved the “filters”involved in the involvedcollection in the collection in and the study collection and processes study and processes study of processes of of 286 286“traditional” “traditional” dress“traditional” all dress axioms all dress axiomsabout all it axiomsabout should it about shouldbe challenged it be should challenged and be challenged re-examined. and re-examined. and To re-examined. aspire To toaspire remove To to aspire remove to remove 287 287the “filters”the “filters” of the past “filters”of the is hopeless.past of theis hopeless. past The is effort hopeless. The should effort The shouldbe effort in bringing be should in bringing these be in filters bringing these into filters these the into focus filters the and intofocus the and focus and 288 288re-thinking re-thinking whatre-thinking we what think we whatwe think know, we we think stillknow, weknowing still know, knowing in still the knowing back in the of back inour the mindsof back our ofthatminds our some minds that new—or some that somenew—or not new—or not not so 289 289so new—filters so new—filters new—filters(of our (oftime, our (ofplace, time, our pers time,place,onality place, pers onalityetc.) personality are etc.) bound are etc.) tobound are be boundapplied. to be toapplied. be applied. 290 Funding: This research received no external funding. 290 Funding:Funding: This researchThis received research receivedno external no funding. external funding. 291 Conflicts of Interest: The author declares no conflict of interest. 291 ConflictsConflicts of Interest: of Interest:The authorThe declares author declaresno conflict no of conflict interest. of interest.

292 292References References and Notes and Notes

293 2931. The1. discussion The discussion raised in raised this paper in this is paper part of is thepart ongoing of the ongoing work for work my PhDfor my thesis: PhD “Dress thesis: collections“Dress collections in in 294 294 Greece (lateGreece 19th–early (late 19th–early 21st century): 21st century): Museums, Museums, collectors collect and orsantique-sellers and antique-sellers in a process in a processof collecting, of collecting, 295 295 rescuingrescuing and studying”. and studying”. 2nd year 2nd of preparation,year of preparation, University Un iversityof , of Ioannina, Greece (supervisor:Greece (supervisor: Professor Professor 296 296 Marina Vrelli-Zachou).Marina Vrelli-Zachou). 297 2972. Macha-Bizoumi,2. Macha-Bizoumi, N. Η. ιματιοθήκη N. Η. ιματιοθήκη του Λυκείου του Λυκείου των Ελληνίδων των Ελληνίδων (1911–2000). (1911–2000). Ιστορική Ιστορική προσέγγιση προσέγγιση στον στον 298 298 τρόπο συγκρότησηςτρόπο συγκρότησης και διαχείρισης και διαχείρισης μιας ενδυματολογικής μιας ενδυματολογικής συλλογής συλλογής. In Το Λύκειον. In Το Λύκειον των Ελληνίδων των Ελληνίδων. . 299 299 100 χρόνια100. [Theχρόνια wardrobe. [The wardrobe of the Lyceum of the LyceumClub of GreekClub of Women Greek Women(1911–2000). (1911–2000). A historical A historical approach approach to the to the 300 300 constitutionconstitution and management and management of a dress of collection.a dress collection. In The Lyceum In The ClubLyceum of Greek Club Women.of Greek 100Women. Years 100]; Avdela, Years]; Avdela, 301 301 E., Ed.; PiraeusE., Ed.; BankPiraeus Group Bank Cultural Group Cultural Foundation: Foundation: Athens, Athens,Greece, 2010;Greece, pp. 2010; 193–231. pp. 193–231.

Heritage 2019, 3 FOR PEER REVIEW 7

253 Knowledge on the life and deeds of each one of these providers would shed, if not a stronger, surely 254 a different light on the objects that passed from their hands. All interested parties, starting with 255 museums, could share information and create a repository, where gradually each provider’s profile 256 will be sketched, links and courses will be trailed, connections and relations between people, objects 257 and ideas will be revealed [21]. ICTs provide abundant means for the realization of such a project.

258 5. In Conclusion: Redefining our Perception of “Traditional Costumes” 259 Provenance of knowledge on historical dress is a long and uncertain path running through 260 knowledge of provenance of the extant items, i.e., through antique-dealers, peddlers, collectors, 261 museum directors & curators, artists, researchers, craft patrons and so on. 262 Collection is generally regarded as an act of rescue, safeguarding and preservation. However, at 263 the same time it is an act of loss, damage and extinction. Every time an item is “collected”, it is 264 removed from a given context, and a certain amount of information is irrevocably lost; a number of 265 potential perspectives for its interpretation are ruled out. Likewise, every time an item is “collected”, 266 many others are not, as a result of either selection procedures or chance. More often than not, this 267 one item is laden with the burden of “representing” a whole category, not necessarily because it has 268 been verified to have the typical features of the category, but just because it happens to be the “one” 269 extant sample of it. That is why the biography of a collection should try to spot and explain its Heritage 2019, 3 FOR PEER REVIEW 7 270 shortcomings (in all aspects: collecting, recording, documenting, managing, presenting and so on) as Heritage 2019, 3 FOR PEER REVIEW 7 271 well253 as its assets.Knowledge When on approaching the life and a deeds collection, of each we one should of thes alsoe providers listen to its would “silences”, shed, ifsince not whata stronger, it surely 272 doesn’t “say” is equally interesting with what it “says”. 253 Knowledge on the life and254 deeds aof different each one light of thes one theproviders objects would that passed shed, if from not a th stronger,eir hands. surely All interested parties, starting with 273 The way and the reasons that a specific type of clothes was collected in Greece from the late 254 a different light on the objects255 thatmuseums, passed could from sharetheir informationhands. All interested and create parties, a repo sitory,starting where with gradually each provider’s profile 274 19th until the late 20th century has led to a specific perception of this kind of wear as “costumes” of 255 museums, could share information256 will and be createsketched, a repo linkssitory, and wherecourses gradually will be traile eachd, provider’s connections profile and relations between people, objects 275 local origin but national significance, characterized as precious, picturesque, beautiful, symbolic, 256 will be sketched, links and257 courses and will ideas be traile will bed, connectionsrevealed [21]. and ICTs relations provide between abundant people, means objects for the realization of such a project. 276 conservative, collective, and so on. Even the verbal treatment of the existing collections testifies that 257 and ideas will be revealed [21]. ICTs provide abundant means for the realization of such a project. 277 their258 purpose 5. In so Conclusion: far has been Redefining to function our as Pe arcsrception of certified of “Traditional “authentic” Costumes” and “complete” sets of 278 clothing: they are called collections of “costumes” (ενδυμασ ί ες) and ”costume parts” or 258 5. In Conclusion: Redefining our Perception of “Traditional Costumes” 279 “accessories”259 (εξαρτProvenance ή ματα of); knowledgean individual on item,historical such dressas a chemiseis a long or and a coat, uncertai is non morepath runningthan a through 259 Provenance280 of knowledge“part”,260 i.e., onknowledge it cannothistorical stand of dress provenance on itsis aown. long Gatheringof and the uncertaiextant as much items,n path information i.runninge., through through as possibleantique-dealers, from any peddlers, probable collectors, 260 knowledge of 281provenance source261 of will themuseum helpextant transform items,directors i. e.,“costumes & throughcurators, collections”antique-dealers, artists, researchers, to “dress peddlers, craft collections”, patrons collectors, and since so on.the quest today is 261 museum directors282 & curators,shifting262 artists,from treasuring researchers,Collection typical is craft generally patronsoutfits regarded ofand a toteso ason.m-like an act staticof rescue, quality safeguarding and a national and preservation. sacredness toHowever, at 262 Collection283 is generally understanding263 regarded the sameas dress an acttime habits of itre scue,andis an forms safeguardingact of as loss, a particular damage and preservation. areaand ofexti bothnction. However, material Every atand time immaterial an item isculture, “collected”, it is 263 the same time284 it is aninextricably act264 of loss,removed relateddamage tofrom andall othera exti givennction. aspects context, Every of lifeand time and a certain culture.an item amount is “collected”, of information it is is irrevocably lost; a number of 264 removed from285 a given context,265Furthermore, andpotential a certain after perspectives amount acknowledging of for information its interpretationthe “filters” is irrevocably involved are ruled lost; in out.the a numbercollectionLikewise, of and every study time processes an item is of “collected”, 265 potential perspectives286 “traditional”for266 its interpretation many dress others all are axioms areruled not, out.about as Likewise,a itresult should of every eitherbe challenged time selection an item and procedures is re-examined.“collected”, or chance. To aspire More to often remove than not, this 266 many others are287 not, asthe a267 “filters”result ofone of either itemthe past selectionis laden is hopeless. with procedures the The burden effortor chance. of should “representin More be in often bringingg” a than whole thesenot, category, this filters notinto ne thecessarily focus and because it has 268 been verified to have the typical features of the category, but just because it happens to be the “one” 267 one item is laden288 with re-thinkingthe burden whatof “representin we think weg” aknow, whole still category, knowing not in ne thecessarily back of because our minds it has that someHeritage new—or 2019, 3 FOR not PEER REVIEW 5 268 been verified to289 have theso 269new—filterstypical featuresextant (of sample ourof the time, caoftegory, place,it. That persbut is justonalitywh ybecause the etc.) biography areit happens bound of totoa becollectionbe applied.the “one” sh ould try to spot and explain its 269 extant sample of it. That270 is whyshortcomings the biography (in of all a aspects: collection collecting, should recording,try to spot documenting, and explain166 managing,its presentingSince the 1910sand so folk-dance on) as groups were set up, who were teaching, and publicly performed, 290 Funding:271 Thiswell research as its assets.received When no external approaching funding. a collection, we should also listen to its “silences”, since what it 270 shortcomings (in all aspects:Heritage collecting,2019, 2 recording, documenting, managing, presenting and so on)167 as local dances. While715 many of these groups initially collected and used original costumes in their 271 well as its assets.291 When Conflicts approaching272 ofdoesn’t Interest: a collection, “say” The author is equallywe declares should interesting noalso conflict listen with of to interest. itswhat “silences”, it “says”. since what168 it performances, later on they put aside the original ones and used replicas instead. 272 doesn’t “say” is equally interesting273 withThe what way it and “says”. the reasons that a specific type of clothes was169 collected inNowadays Greece from “traditional the late costumes” can be seen worn quite often: by the Evzones Guard at the 273 The way 292and the ReferencesReferencesreasons274 that19th and and a untilspecific Notes Notes the type late 20thof clothes century was has collected led to a specificin Greece pe fromrception the oflate170 this kindTomb of wearof the as Unknown“costumes” Soldier of in front of the Greek Parliament; by ceremonial groups receiving 275 local origin but national significance, characterized as precious, picturesque, beautiful, symbolic, 274 19th until the late293 20th 1. 1.century TheThe discussionhas discussion led to raised raiseda specific in in this this pe paperrception paper is is part partof this of of the kind ongoing of wear work as for“costumes” my PhD 171 thesis: of “Dress “Dressforeign collections collections officials; in in by schoolchildren in parades honoring national anniversaries; in dance 276 275 local origin but294 national significance,GreeceGreececonservative, (late (late 19th–early 19th–earlycharacterize collective, 21st 21std century): century):as precious, and soMuseums, Museums, on. picturesque, Even collect collectors the orsverbal beautiful, and and treatmentantique-sellers antique-sellers symbolic, of172 the in in existinga a process processperformances collections of of collecting, collecting, at testifiespublic spaces that (Figure 2), on television shows; and so on. The costumes actually used 276 conservative, collective,295 and277rescuingrescuing so on.their Evenand and purpose studying”. studying”. the verbal so 2nd 2ndfar treatment yearhas year beenof of preparation, preparation,of tothe function existing Un University iversity ascollections arcs of ofof Ioannina, certifiedtestifies Greece that173“authentic” (supervisor:in most and of Professor“complete” Professor these instances sets areof replicas, often made of lighter and cheaper materials than the originals. 277 their purpose 296so far has278 beenMarinaMarina toclothing: Vrelli-Zachou).function Vrelli-Zachou). theyas arcs are of called certified collections “authentic” of and“costumes” “complete” (ενδυμασ sets174 of ί εςThey) and are ”costume usually identical parts” foror all members of a group, and people have come to call them “uniforms” 278 clothing: they297 are called2.2. 279 Macha-Bizoumi,Macha-Bizoumi,collections “accessories” of N. N.“costumes” Η H .( ιµατιιματιοθήκηεξαρτoθ ή κη (ματαενδυμασ ττουoυ); ΛΛυκείου anυκε ίindividual oυες των) and ΕλληνίδωνEλλην item,”costumeδων such (1911–2000).(1911–2000). asparts” a chemise 175 Ιστορική Iorστ oρικ or(στολ προσέγγιση πρa ocoat,σ έγγιση ς )is more no στον στ omore νoften than than a “costumes” (φορεσι έ ς). Still, their makers and users aim at, and are 279 “accessories” (298εξαρτ ή ματα280τρόποτρ );ó πano “part”,συγκρότησηςσυγκρ individualó i.e.,τησησ it item, cannotκαι και διαχείρισης διαχε such standρισησ as ona μιαςchemise µιασits own. ενδυματολογικής ενδυµατ orGathering a ocoat,λoγικ isasσ συλλογής no συλλmuch moreoγ informationσ . than.In In Το176To aΛΛ ύκει κειονasconfidento possibleν τωντων EΕλληνίδωνλλην fromof historicalδων any. . probable accuracy and authenticity in form and appearance. As this is perceived to be a 280 “part”, i.e., it cannot299 stand281 on100100 its χρόνιαχρ own.sourceóνια.; [TheGathering [The will wardrobe wardrobe help as transform muchof of the the Lyceuminformation Lyceum “costumes Club Club ofas of Greek collections” Greekpossible Women Women from to (1911–2000). (1911–2000). any “dress probable collections”,177 A A historical historical matter approachsince approach of thenational to toquest the the identitytoday is and pride, trust in historical validity and claims of authenticity are 281 source will help300 transform HeritageHeritage282constitution constitution“costumes 2019 2019, shifting,3 3 FOR FOR andPEER PEERcollections” from management REVIEW REVIEW treasuring to ofof“dress aa dresstypicaldress collections”, collection. collection. outfits In ofIn The sinceThea tote Lyceum Lyceum them-like Clubquest Club static of of Greektoday Greek quality178 Women. Women.is and 100important. 100 Yearsa Years national]; Avdela,]; Avdela, sacredness E.,88 to 282 shifting from 301treasuring 283typicalE.,Ed.; Ed.; Piraeus understandingoutfits Piraeus Bank of Bank a Group tote Group dressm-like Cultural Cultural habits static Foundation: Foundation:and quality forms Athens,and Athens,as aa particular Greece,national Greece, 2010; sacredness 2010;area pp. pp.of 193–231. both193–231. to material and immaterial culture, 283 understanding302302 dress habits3.3. 284Dalakoura,Dalakoura, and formsinextricably P.P. P. as ΗΗ H μουσειακήaμουσειακήµ oparticular υσειακrelated παρουσίαtoπαρπαρουσία area allo υσother ofα both τηςτης τησ aspects σαρακατς σαρακατς σαρακατσmaterial of life andάά νικησνικηςandνικης immaterial culture. ενδυμασίας ενδυµασενδυμασίας culture,ασ. .. ΣυμβολήΣυμβολήΣυµβ oλ στηνστηνστην προσέγγισηπροσέγγιση πρoσ γγιση, ,, 284 inextricably related303303 to all285 otherτηντην aspectsερμηνείαερμηνεία ερµηνεFurthermore, ofα και καιlife τηνandτην αξιοποίησηculture.αξιοποίηση αξι afteroπo acknowledging ηση τωντων μουσειακμουσειακ µoυσειακ the ώ“filters”ών νν εκθεµ εκθεμάτωνεκθεμάτων involvedτων.. . [The [The [Thein the museum museummuseum collection presence presencepresence and study of ofof the the processes of 285 Furthermore,304304 after acknowledging286SarakatsaniSarakatsani “traditional” dress.dress. the “filters” AA A contributiondresscontribution contribution involvedall axioms toto to the thein the aboutthe treatment,treatment, collection it should interpretationinterpretation and be study challenged and and andprocesses valorizationvalorization and of re-examined. ofof of museummuseum To exhibits].exhibits]. aspire to remove 286 “traditional” dress305305 all axioms287PhDPhDPh.D. about Thesis, Thesis,the Thesis, “filters”it University Universityshould University of be theof of challenged of Ioannina, Ioannina, past Ioannina, is hopeless.Ioannina, Ioannina, Ioannina,and re-examined. Greece,Greece,The Greece, effort 2016. 2016. 2016. Toshould aspire be toin removebringing these filters into the focus and 306306 4.4. Politou,Politou, X. X.X. DressDress CollectionsCollectionsCollections in inin Greece. Greece.Greece. An AnAn Attempt AttemptAttempt to to Surveyto SurveySurvey the thethe Existing ExistingExisting Dress DressDress Collection CollectionCollection Landscape LandscapeLandscape with 287 the “filters” of the past is288 hopeless. re-thinking The effort what should we thinkbe in webringing know, these still knowingfilters into in the the focus back ofand our minds that some new—or not 307307 withwitha View aa View toView Establishing toto EstablishingEstablishing a Costume aa CostumeCostume Culture CultureCulture Museum MuseMuse in Greece.umum inin InGreece.Greece. Proceedings InIn ProceedProceed of theingsings Endyesthai ofof EndyesthaiEndyesthai (To Dress). (To(To 288 re-thinking what we think289 we know,so new—filters still knowing (of inour the time, back place, of our pers mindsonality that etc.) some are new—or bound to not be applied. 308308 Dress).Dress).Historical, Historical, Historical, sociological sociological sociological and methodological and and methodological methodological approaches, approaches approaches Athens,, ,Athens, Athens, Greece, Greece, Greece, 9–11 April 9–11 9–11 2010. April April 2010. 2010. 289 so new—filters (of our time,290 place, Funding: personality This researchetc.) are received bound tono beexternal applied. funding. 309309 5.5. ThisThis essayessay waswas firstfirst first presentedpresented inin 2011 2011 at at the the 6th 6th Symp SymposiumSymposiumosium of of Studies Studies on on Thassos, Thassos, and and published published as as an an 290 Funding: This research310310 received291articlearticle no external Conflicts atat the thetheΛ funding.αΛαογραφίαΛαογραφία oofγραϕ Interest: α journal journalThejournal author in 2017: inin declares2017:2017: Vrelli-Zachou, Vrelli-ZachVrelli-Zach no conflict M.;ou,ou, Macha-Bizoumi,of interest.M.;M.; Macha-Bizoumi,Macha-Bizoumi, N. Aπó τN.N.oν ‘ΑπότΑπόóπo τονεκκτον νησησ‘‘τόποτόπο ’ στ µ υσειακ τ π ασιακ ενδ µατα τ υ oυ και τωνου αρχου ν τ υ αι να σε µ υσειακ σ 291 Conflicts of Interest:311311 The authorεκκίνησηςεκκίνησης odeclares ‘ o ’’ noστοστο conflictó ‘‘μουσειακόμουσειακόó o’: ofΘ interest. τόποτόπο ’: ’: ΘασιακάΘασιακά ενδύματαoενδύματα19 τουτου 1919 καικαι τωντωνo αρχών20oαρχών τουτου 2020ούού oαιώνααιώνα σεσε 312312 292μουσειακέςμουσειακέςσυλλ oReferencesγ σ των συλλογέςσυλλογέςAθην and ν των τωνNotes[From ΑθηνώνΑθηνών the place [From[From of origin thethe place toplace the of museumof originorigin place: toto thethe Garments museummuseum from place:place: Thassos GarmentsGarments of the fromfrom 19th 313313 ThassosThassosand the of earlyof the the 20th19th 19th centuryand and the the inearly early Athens 20th 20th museumcentury century in collections].in Athens Athens museum museumΛαoγραϕ collections]. collections].α 2017, 43Λαογραφία Λαογραφία, 45–69. 2017 2017, ,43 43, ,45–69. 45–69. 292 References and Notes 293 1. The discussion raised in this paper is part of the ongoing work for my PhD thesis: “Dress collections in 314314 6.6. ForFor an an introduction introductionintroduction to to GreekGreek dressdressdress history historyhistory including inclincludinguding ‘traditional’ ‘traditional’‘traditional’ wear, wear,wear, see seesee Papantoniou, Papantoniou,Papantoniou, I. I. InI. GreekGreekGreek Dress.Dress. 294 Greece (late 19th–early 21st century): Museums, collectors and antique-sellers in a process of collecting, 293 1. The discussion315315 raised in FromFromthis paperAncient Ancient is Times Timespart ofto to the thethe 20th 20thongoing20th Century CenturyCentury work.; .Commercial CommercialCommercial for my PhD Bank BankBank thesis: of ofof Greece: Greece:Greece:“Dress Athens, Athens,collectionsAthens, Greece, Greece,Greece, in 2000. 2000. 295 rescuing and studying”. 2nd year of preparation, University of Ioannina, Greece (supervisor: Professor 294 Greece (late316316 19th–early 7.7. 21stBelk,Belk, century): R.W. R.W. Collecting Collecting Museums, in in a a Consumer collect Consumerors Society Societyand antique-sellers.; .Routledge: Routledge:Routledge: London London,Londonin a process and and UK; New New Newof collecting, York, York, York, USA, USA, NY, USA, 1995. 1995. 1995. 296 Marina Vrelli-Zachou). 179 295 rescuing and317317 studying”. 8.8. Crawley, Crawley,2nd year D., D.;D.,of Taylor, Taylor,Taylor,preparation, L.L.,L., (Eds.)Eds. Eds. Un The TheTheiversity Lost Lost Lost Arts Arts Artsof Ioannina,of of of Europe. Europe. Europe. The GreeceThe The Haslemere Haslemere Haslemere (supervisor: Museum Museum Museum Professor collection collection collection of of of European European European Peasant Peasant Peasant Art Art Art. .; 297 2. Macha-Bizoumi, N. Η. ιματιοθήκη του Λυκείου των Ελληνίδων (1911–2000). Ιστορική προσέγγιση στον 296 Marina Vrelli-Zachou).318318 HaslemereHaslemere Educational Educational Muse Museum:Museum:um: Haslemere, Haslemere, UK, UK, 2000. 2000. 180 Figure 2. Theater and dance performance for the national anniversary of 25 March 2014. 298 τρόπο συγκρότησης και διαχείρισης μιας ενδυματολογικής συλλογής. In Το Λύκειον των Ελληνίδων. 297 2. Macha-Bizoumi,319319 N.9. 9.Η . ιματιοθήκηBent,Bent, Th. Th. T. The The The του CycladesCyclades Λυκείου or or or Life τωνLife Life Among AmongΕλληνίδωνAmong the the the Insular Insular Insular (1911–2000). Greeks Greeks;. Longmans, .Longmans,Ιστορική Longmans, προσέγγιση Green, Green, Green, and and and Co.:στον Co.: Co.: London, London, London, UK, UK, UK, 1885. 1885. 1885. 299 100 χρόνια. [The wardrobe of the Lyceum Club of Greek Women (1911–2000). A historical approach to the 298 τρόπο συγκρότησης320320 10.10. και Dawkins,Dawkins, διαχείρισης R.M.;R.M.; μιας Wace, Wace,Wace, ενδυματολογικής A.J. A.J.A.J.Catalogue CatalogueCatalogue of aσυλλογής of Collectionof aa CollectionCollection of. In Old Το ofof Embroideries ΛύκειονOldOld EmbroiEmbroi των ofderiesderies theΕλληνίδων Greek ofof the181the Islands Greek.Greek and 4. IslandsIslands TurkeyIn Search and;and Burlington TurkeyTurkey of Provenance:. . Putting Together Biographies of Collections and Objects 300 constitution and management of a dress collection. In The Lyceum Club of Greek Women. 100 Years]; Avdela, 299 100 χρόνια321321. [The wardrobeBurlingtonBurlingtonFine of the Arts Lyceum Club: Fine Fine Arts London,Arts Club Club: Club: of UK,Greek London, London, 1914. Women UK, UK, (1911–2000).1914. 1914. A historical approach to the 301 E., Ed.; Piraeus Bank Group Cultural Foundation: Athens, Greece,182 2010; pp. 193–231.“Traditional costumes” collections are valuable a) because of the significance this kind of wear 300 constitution322322 and management11.11. Taylor,Taylor, of L. L.L.a Establishing EstablishingdressEstablishing collection. dress Dressdress Inhistory history History The .Lyceum .Manchester ;Manchester Manchester Club ofUniversity University UniversityGreek Women. Pr Pr Press:ess:ess: 100 Manchester, Manchester, Manchester,Years]; Avdela, UK, UK, UK, 2004. 2004. 2004. 183 had, and still has, for national image, narrative and aspirations, for the collective and individual 301 E., Ed.; Piraeus323323 Bank12.12. Group French,French, Cultural A. A. TheTheThe Foundation: Greek GreekGreek embroidery embroiembroi Athens,derydery Greece, collecting collectingcollecting 2010; of of R.M.of pp. R.M.R.M. 193–231. Dawkins DawkinsDawkins and and A.J.B.and A.J.B.A.J.B. Wace. Wace.Wace.British BritishBritish School SchoolSchool at Athens atat Athens StudiesAthens 184 identity; and b) because the extant clothes (dated roughly from the 18th to the mid-20th century) and 324324 StudiesStudies2009, 17 20092009, 77–90., , 1717, ,Available 77–90.77–90. AvailableAvailable online: http://www.jstor.org/stable/40960674 online:online: http://www.jstohttp://www.jstor.org/stable/40960674r.org/stable/40960674 (accessed (accessed(accessed on 12 January onon 1212 2019).JanuaryJanuary 185 the collections of them can be useful historical sources which, I think, have not yet been fully 325325 13. 2019).2019).Taylor, L. The Study of Dress History; Manchester University Press: Manchester, UK, 2002. 186 exploited and meaningfully related to other available sources (archival, visual, oral etc.) of the same 326326 13.14.13. Taylor,Taylor,Such work L. L. The The for study study the Britishofof dress dress casehistoryhistory has. .Manchester Manchester been done University byUniversity Mark Westgarth Pr Press:ess: Manchester, Manchester, in his PhD UK, UK, thesis: 2002. 2002.The Emergence of the 187 time for the study of various historical issues besides folk culture or dress history. 327327 14.14. SuchSuchAntique workwork & Curiosity forfor thethe BritishBritish Dealer case1815–c.1850:case hashas beenbeen The donedone Commodification byby MarkMark WestgarthWestgarth of Historical inin hishis Objects PhDPhD. Universitythesis:thesis: TheThe ofEmergenceEmergence Southampton, ofof thethe 188 An important parameter affecting the kind and validity of the information that may be 328328 AntiqueAntiqueSouthampton, & & Curiosity Curiosity UK, Dealer Dealer 2006. 1815–c.1850: In1815–c.1850: it he investigates Th Thee Commodification Commodification the antique of andof Historical Historical curiosity Objects Objects dealers’. .University University role in early of of Southampton, Southampton, 19th century 189 provided by a historical costume in a collection, museum or other, is its provenance: how it was 329329 Southampton,Southampton,Britain. See also UK, UK, [20 2006. 2006.]. In In it it he he investigates investigates the the anti antiqueque and and curiosity curiosity dealers’ dealers’ role role in in early early 19th 19th century century 330330 15. Britain.Britain.Pearce, See S.M.See also alsoMuseums, [20]. [20]. Objects and Collections; Leicester University Press: Leicester/London,190 acquired UK, 1992.and what is known about its “life” before. The same stands, proportionally, for a historical 331331 15.16.15. Pearce,Pearce,Larson, S. S. F. M. M.An Museums, Museums, Infinity of Objects Things.Objects and Howand Collections Collections Sir Henry. .WellcomeLeicester Leicester CollectedUniversity University the Press: WorldPress: ;Leicester Leicester Oxford191 University and and costumesLondon, London, Press: UK, UK, collection Oxford, 1992. 1992. as a whole: its potential as a source for the understanding of material culture and 332332 16.16. Larson,Larson,UK, 2009. F.F. AnAn InfinityInfinity ofof Things.Things. HowHow SirSir HeHenrynry WellcomeWellcome CollectedCollected thethe WorldWorld192. . OxfordOxford as University Universitya field for Press:Press: different interpretations is largely dependent on its provenance: the way it has been 333333 17. Oxford,Oxford,Delbourgo, UK, UK, J.2009. 2009.Collecting the World. The Life and Curiosity of Hans Sloane; Allen Lane:193 London,created. UK, 2017. 334334 17.18.17. Delbourgo,Delbourgo,Papathoma, J. J. E.Collecting Collecting From the the the Mountains World. World. The The to Life Life the and and City Curiosity Curiosity Streets. of of Multiple Hans Hans Sloane Sloane Approaches. .Allen Allen Lane: Lane:194 to a London, Child’sLondon, Parade UK, UK,Since 2017. 2017. Uniform.the provenance of both individual objects and collections as entities deeply affects our 335335 18.18. Papathoma,Papathoma,In Proceedings E. E. From From of the the the 2014 Mountains Mountains Annual Meeting to to the the City City of the Streets. Streets. ICOM Multiple Multiple Costume Approaches Approaches Committee, to 195to Nafplion a a Child’s Child’sknowledge and Parade Parade Athens, Uniform. Uniform. Greece,of them and their interpretational potential, it is critical to ask questions such as the 336336 InIn7–13 ProceedingsProceedings September ofof 2014. thethe 20142014 AnnualAnnual MeetingMeeting ofof thethe ICOMICOM CostumeCostume Committee,Committee,196 NafplionNafplionfollowing andand [15]Athens,Athens, (pp. 115–117): With what criteria and intentions were these clothes collected? What 337337 19. Greece,Greece,Papathoma, 7–13 7–13 E.SeptemberSeptember An ‘Ethnic’ 2014. 2014. Souvenir for a WWI Nurse. Available online: http://www.clothestellstories.com/197 was preserved and what was left out? Which routes did the objects follow on their way to 338338 19.19. Papathoma,Papathoma,index.php/component/content/article/10-telling-stories-with-clothes/63-an-ethnic-souvenir-for-a-wwi- E.E. AnAn ‘ethnic’‘ethnic’ souvenirsouvenir forfor aa WWIWWI nurse.nurse.198 AvailableAvailablecollections, online:online:who and what came in their way? To what extent was their form affected, altered or 339339 http://www.clothestellstories.com/ihttp://www.clothestellstories.com/inurse (accessed on 12 January 2019).ndex.php/component/content/articlendex.php/component/content/article/10-telling-stories-with-clothes/63/10-telling-stories-with-clothes/63199 distorted? How much and what kind of information were they “allowed” to carry along? How sure 340340 20. -an-ethnic-souvenir-for-a-wwi-nurse-an-ethnic-souvenir-for-a-wwi-nurseJones, J.P. The Colonial Legacy and the (accessed (accessed Community: on on 12 12 January TheJanuary Gallery 2019). 2019). 33 Project. In200Museums can and we Communities: be of their “authenticity”? Also, what really is the measure by which to judge “authenticity”? 341341 20.20. Jones,TheJones, Politics J.P.J.P. TheThe of ColonialPublicColonial Culture LeLegacygacy; Karp, andand thethe I., Kreamer,Community:Community: C.M., TheThe Lavine, GalleryGallery S.D., 3333 Project.Project. Eds.; Smithsonian InIn MuseumsMuseums and Institutionand Communities: Communities: Press: 342342 TheWashington,The PoliticsPolitics ofof DC, PublicPublic USA, CultureCulture 1992;; ;pp. KarpKarp 221–241. I.,I., KreamerKreamer C.M.,C.M., Lavine,Lavine, S.D.,S.D., Eds.;Eds.; SmithsonianSmithsonian InstitutionInstitution Press:Press:

343343 WashingtonWashington D.C., D.C., USA, USA, 1992; 1992; pp. pp. 221–241. 221–241. 344344 21.21. Cf.Cf. thethe CentreCentre forfor thethe StudyStudy ofof thethe ArtArt andand AntiquesAntiques MarketMarket ofof thethe UniversityUniversity ofof LeedsLeeds [available[available online:online: 345345 http://csaam.leeds.ac.ukhttp://csaam.leeds.ac.uk (accessed(accessed onon 1212 JanuaryJanuary 20192019)])] andand thethe ‘Antique‘Antique Dealers’Dealers’ projectproject basedbased atat thethe 346346 samesame UniversityUniversity andand ledled byby DrDr MarcMarc WestgarthWestgarth [ava[availableilable online:online: http://www.antiquedealers.leeds.ac.ukhttp://www.antiquedealers.leeds.ac.uk 347347 (accessed(accessed on on 12 12 January January 2019)]. 2019)]. 348348 ©© 20192019 byby thethe author.author. SubmittedSubmitted forfor possiblepossible openopen accessaccess publicationpublication underunder thethe termsterms andand conditionsconditions ofof thethe CreativeCreative CommonsCommons AttributionAttribution (CC(CC BY)BY) licenselicense (http://creativecommons.org/licenses/by/4.0/).(http://creativecommons.org/licenses/by/4.0/). 349349

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21. Cf. the Centre for the Study of the Art and Antiques Market of the University of Leeds [available online: http://csaam.leeds.ac.uk (accessed on 12 January 2019)] and the ‘Antique Dealers’ project based at the same University and led by Dr Marc Westgarth [available online: http://www.antiquedealers.leeds.ac.uk (accessed on 12 January 2019)].

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