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Historically-Inspired Dress As a Personal Style Choice HISTORICALLY-INSPIRED DRESS AS A PERSONAL STYLE CHOICE by DINA CHERISE SMITH (Under the Direction of José Blanco) ABSTRACT While elements of Retro or revival dress, or for the purpose of this study, historically-inspired dress are considered characteristic of postmodern fashion, there are some individuals who appropriate retro/revival dress not due to its popularity but as a result of sartorial symbolisms (Barnard, 2002; English, 2007; Vinken, 2005; E. Wilson, 1985). Qualitative case studies were performed to explore the motivations for wearing historically-inspired dress on a daily or near- daily basis. Two approaches were utilized based on previous literature. Historically-inspired dress bears or does not bear significant meaning in connection with the time period in which it is associated. Findings indicated that one approach alone was insufficient in explaining this practice. Findings also indicated that historically-inspired dress had less in common with historic costume and/or reenactment dress because participants do not use it to portray a historic or semi- historic persona. Instead, it serves as an alternative style choice. INDEX WORDS: Motivations, Historically-inspired Dress, Costume, Persona, Retro/Revival dress, Communication, Expression HISTORICALLY-INSPIRED DRESS AS A PERSONAL STYLE CHOICE by DINA CHERISE SMITH B.S., The University of Southern Mississippi, 2006 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF SCIENCE ATHENS, GA 2011 © 2011 Dina Cherise Smith All Rights Reserved HISTORICALLY-INSPIRED DRESS AS A PERSONAL STYLE CHOICE by DINA CHERISE SMITH Major Professor: José Blanco Committee: Patricia K. Hunt-Hurst Katalin Medvedev Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia August 2011 iv DEDICATION I dedicate this thesis to my sister and best friend, Dana Elise Smith, who dedicated her first award-winning film to me and who always acknowledges me in her accomplishments no matter how small a part I play. v ACKNOWLEDGEMENTS I would first and foremost like to thank God for challenging me to have the courage to follow my dreams. I would also like to acknowledge my family for the support I have relied upon these last two years. I also thank my friends who made sure I had fun throughout my academic journey. vi TABLE OF CONTENTS Page ACKNOWLEDGEMENTS ...........................................................................................................v LIST OF FIGURES ...................................................................................................................... vii CHAPTER 1. INTRODUCTION ...............................................................................................................1 2. REVIEW OF LITERATURE ............................................................................................13 3. METHODS AND PROCEDURES....................................................................................48 4. RESULTS AND DISCUSSION ........................................................................................55 5. CONCLUSIONS AND RECOMMENDATIONS ..........................................................112 REFERENCES ............................................................................................................................122 APPENDICES A ...................................................................................................................................................135 B ...................................................................................................................................................137 C ...................................................................................................................................................140 D ...................................................................................................................................................167 E ...................................................................................................................................................191 vii LIST OF FIGURES Figure 4.1: Kilt paired with a peasant top ......................................................................................58 Figure 4.2: Lane‟s1930s/40s-inspired “gangster suit” ...................................................................59 Figure 4.3: Bustle dress..................................................................................................................67 Figure 4.4: Corset and long skirt....................................................................................................68 Figure 4.5: Double-breasted 1930s-inspired dress.........................................................................69 Figure 4.6: 1930s-inspired dress ....................................................................................................70 Figure 4.7: 1930s-style pants Lara sewed herself ..........................................................................71 Figure 4.8: Typical outfit ...............................................................................................................72 Figure 4.9:Devin and his nineteenth century-inspired cloak, top hat, and pocket watch ..............79 1 CHAPTER 1 INTRODUCTION Some individuals choose historically-inspired dress as their personal clothing style choice. The term historically-inspired describes retro or revival dress that is intentionally worn for its sartorial symbolisms. It refers to a part of a garment or entire ensemble that resembles the cut, length or embellishments of garments worn in prior time periods. While elements of retro or revival dress are often seen in twenty-first century fashion there are some individuals who appropriate these dress forms not due to their popularity but as a result of their sartorial symbolism. Historically-inspired dress includes fashionable dress that is sold in mainstream venues. For the purpose of this study, historically-inspired dress also included authentic historic dress replicas and historic costume. Historic costume is a form of fantasy dress which is worn to express creative imagination. Reenactors wear historic costume with the intention of communicating a historic persona at reenactment events. Wearers of historically-inspired choose to dress this way in a variety of social settings on a daily basis or a near-daily basis as some situations do not allow the opportunity. For instance, those who are required to wear a uniform for their occupation chose to dress this way in all other situations except work. This indicates an ideology that differs from that of mainstream society. 2 Purpose The purpose of this study was to explore the individual motivations for using historically- inspired dress on a daily or near daily basis. Theorists‟ have claimed that retro/revival dress is commonly seen in fashion due to socioeconomic factors and nostalgia that runs rampant in popular culture. However, there are currently no studies to my knowledge that examine whether or not these factors influence individuals to wear this style of dress (Barnard, 2002; Davis, 1979, 1992; Evans, 2003; Vinken, 2005; E. Wilson, 1985). Objectives The study included the following objectives: To explore the motivations of an individual to wear historically-inspired dress on a daily or near daily basis To explore the meanings of specific period styles of historically-inspired dress to the wearer which include ideologies, values, beliefs, or ethos expressed/communicated to others by wearing historically-inspired dress To explore other identity markers that aid in constructing the wearers‟ identities (for example, historic art, antiques, décor, furniture, and other forms of material culture) and their connection with the wearer‟s dress style Methodology Qualitative case studies were performed to explore personal motivations of individuals who use historically-inspired dress. I attempted to locate participants through networking via various organizational sites in which members wear historically-inspired dress and recruit 3 participants via email, letter mail, and telephone conversations. However, all three of my participants were identified through existing social relationships. Data was collected in multiple forms including semi-structured in-depth interviews, observations, photographs, and wardrobe samples. Data analysis took place in the form of narrative analysis in which common themes were identified, categorized, and compared among the data. Limitations Three participants, two male and one female, United States residents who wear historically-inspired dress were interviewed in depth and observed in their personal settings which primarily included the living rooms of their homes. This was done to gain insight into their personal motivations for using historically-inspired dress as a daily or near-daily aesthetic. Significance This study is of great personal interest to me. My fascination with historic dress could not be satisfied by adopting medieval costume only on weekend reenactment events and wearing historically-inspired dress occasionally. Because of this, I found ways to express my interest in history and historic dress by integrating historic elements into daily life, such as hanging paintings of renaissance knights and ladies on the walls of my home and even choosing dinnerware that reflects a former era. My love of history has become very much a part of my “self”
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