DOCSLIB.ORG

Fashion Museum January – June 2019

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Fashion Museum January – June 2019 Fashion Museum January – June 2019 FashionMuseum Fashion Museum | Assembly Rooms, Bennett Street, Bath BA1 2QH @Fashion_Museum Gallery information for 2019 3 Fashion_Museum “This collection “If you have any Online reviews from is nothing short interest in fashion Tripadvisor in 2018 Welcome of amazing.” history, you will be The Fashion Museum Bath is one of riveted by the the world’s great museum collections collection here.” of historical and contemporary dress. Fashion has the power to capture the imagination and to illuminate personal and social stories. The Museum’s headline exhibition, A History of Fashion in 100 Objects, shows how fashions have changed throughout the ages, whilst our annual Dress of the Year selection shines a spotlight on contemporary fashion. Continuing into 2019 is the show-stopping exhibition Royal Women. From March the Museum will be revealing the fascinating stories behind 400 years of gloving history with Glove Stories. Visitors can also create their own period outfit from the replica dressing up items, based on the Museum’s collection. A vibrant events programme offers creative workshops, after-hours talks and family activities. The Museum also hosts the Bath branch of the Knitting and Crochet Guild. A visit to the Museum lasts an hour or more and includes an audioguide available in 12 languages. Find out more at fashionmuseum.co.uk, Facebook, Pinterest and Twitter. You can also contact us at [email protected] We hope you enjoy your visit to the Fashion Museum! Front cover image: This page: Black silk and velvet Selection of dresses embellished evening and girl’s pelisse style ‘One of the world’s best dress by Barolet coat, 1810s. On display about 1908, worn by in A History of Fashion fashion museums…’ Queen Alexandra in 100 Objects Condé Nast Traveler 5 Fashion touches everyone’s life – it A History is intrinsically linked to society – and A History of Fashion in 100 Objects of Fashion references moments in history, in 100 Objects as well as personal stories. The Fashion Museum Bath presents 100 ‘star’ objects from its collection in the headline exhibition A History of Fashion in 100 Objects. Taken together, these objects showcase a history of fashion from the 1600s to the present day. Images clockwise Object 49: Biscuit Object 65: Embellished from above: brown and rose pink yellow silk chiffon silk day dress, 1886 evening dress by Printed leather Paquin, 1927 gloves, about 1800. Light brown knitted Courtesy of the rayon Utility gloves, Object 21: Man’s cream Worshipful Company 1940s. Courtesy of the silk embroidered coat of Glovers of London. Worshipful Company and rose pink silk of Glovers of London. breeches, 1780s Last chance Until 28 April 2019 2 March 2019 until 1 March 2020 7 to see One of the best collections of Glove gloves in the world will go on display at the Fashion Museum this Spring. Woven throughout Stories A History of Fashion in 100 Objects, Glove Stories will showcase the breadth and depth of The Glove Collection of the Worshipful Company of Glovers of London, which is cared for and housed at Far left: Gold brocade shoes with diamanté the Fashion Museum. bows by Rayne 1935, worn by Queen Mary Left: Back view of Visitors will see exquisite examples of black silk and velvet historical gloves from the past 400 years; embellished evening dress by Barolet many of which have never been displayed about 1908, worn by Queen Alexandra to the public before. Highlights include a curious pair of gloves in a walnut shell from the 1830s and the Duke of Edinburgh’s carriage-driving gloves. The exhibition also touches on outer space with a Soviet cosmonaut’s glove and a costume glove from the Star Wars film, Royal Women showcases The Empire Strikes Back. royal dress and explores the fashions worn by four successive generations of women in the British royal family. Wives and daughters, sisters and mothers; none of them was monarch, yet each played a key role in the British royal family which influenced their choice of clothing. This blockbuster exhibition draws to a conclusion at the end of April but has one more secret to reveal: a rediscovered Images clockwise Silvered effect long Embroidered tabbed Selection of brightly All images from above: gauntlet gloves as worn gauntlet glove edged coloured suede leather courtesy of the evening gown once belonging to by actor Mark Hamill with bobbin lace in gloves, by self-taught Worshipful Company Queen Alexandra, and stored in an as Luke Skywalker in silver metal thread, glove maker Mrs Anne of Glovers of London. Star Wars The Empire 1620s Kershaw, 1950s attic for many years, is now on display. Strikes Back (1980) Winter – Spring 2019 9 Glove Stories Events for Adults Thursday 21 March Events programme Curator Rosemary Harden will offer a Twilight Talks Talks on fashion history by expert speakers, special preview of the Museum’s latest display showcasing the breadth and depth in the Museum galleries 18.15–19.15. Tickets £10 adult/£8 student, includes a of the wonderful Glove Collection of the Buttoned Up Worshipful Company of Glovers of London, Family Activities glass of wine. Book at bathboxoffice.org.uk Tuesday 16 April housed here at the Fashion Museum. Free to attend with Museum entry, 10.30–12.30 and 13.30–15.30 Royal Women: Look at how buttons were used on no need to book. Children must Her Majesty Queen Alexandra different outfits throughout the centuries be accompanied by an adult. Thursday 7 February and create a button brooch. Dr Kate Strasdin, author of Inside the Flower Power Royal Wardrobe: A Dress History of Ribbon Roundup Tuesday 28 May Queen Alexandra (1844–1925) and Tuesday 19 February 10.30–12.30 and 13.30–15.30 historical research consultant for the 10.30–12.30 and 13.30–15.30 Look at the fabulous floral patterns on Royal Women exhibition, will tell the Explore how ribbon is used by fashion display. Create a piece of ‘fabric’ using story behind the recent discovery of designers and make a ribbon decoration. flower stamps and paper. Queen Alexandra’s missing dress. A book signing will accompany this talk. Royal Women: Behind the Scenes of the Exhibition Thursday 21 February In Conversation Join curator Elly Summers for an exclusive insight into the exquisite Occasional events with big names in pieces selected for display in Royal Women, contemporary fashion and dress history examining not only the collection stories in conversation, in the Museum galleries that lie behind the objects, but also the 18.15–19.15. Tickets £10 adult/£8 processes involved in curating a major students, includes a glass of wine. fashion exhibition. Book at bathboxoffice.org.uk or on Christian Dior: Designer of Dreams the door on the evening, if not sold out. Thursday 7 March Hear Oriole Cullen, curator of the V&A In Conversation with David Sassoon, Museum’s new blockbuster fashion British Couturier exhibition, trace the history and impact Thursday 11 April of one of the twentieth century’s most Hear curator Rosemary Harden in influential designers. conversation with David Sassoon of legendary British couture house Bellville Sassoon. Discover the stories behind Left:Tartan silk evening Above: Knitted David’s glamorous designs for London dress by Madame Elise elbow-length mittens about 1870, worn by with floral decoration, society and beyond, including royal Queen Alexandra about 1700. Courtesy fashion icons Princess Margaret and of the Worshipful Company of Diana, Princess of Wales. Glovers of London. Winter – Spring 2019 | Activities Continuing throughout 2019 11 Creative Activities Learning at the Saturday Sketching Fashion Museum First Saturday of every month, 10.30–12.30 There are many ways to learn at the Sketch the beautiful objects on display Fashion Museum, from a teaching in our A History of Fashion in 100 Objects session to a self-guided visit. exhibition, with suggestions of key spots of Our sessions are closely linked interest from the curators. Self-led sketching to the curriculum and also cater sessions in the Museum, materials provided. for young people who are developing Free to attend with Museum entry. an interest in fashion and textiles. For more information please visit Bath Knitting & Crochet Guild fashionmuseum.co.uk/learn Second Saturday of every month, 10.00–12.00 Monthly knitting and crochet session hosted by the Museum. Attendees must be comfortable climbing stairs. Free to attend, all skill levels welcome. Winter – Spring 2019 | Classes and workshops Continuing throughout 2019 Bespoke Embroidery: Inspired Royal School of by 1610s Goldwork Waistcoat Dressing Up at the Saturday 15 June, 10.00–16.00 Needlework classes Learn how to recreate a section of a Fashion Museum Bespoke Embroidery: stunning woman’s waistcoat in silk and The Museum’s exhibits are brought to life Inspired by 1600s Gauntlet Gloves gold threads with Kate Barlow. through its unique dressing up collection. Saturday 4 May, 10.00–16.00 Visitors of all ages can try on replica dress Recreate a motif from a beautiful historic from the Georgian, Regency and Victorian glove with Deborah Wilding. periods, based on some of the outfits on Tickets £84, plus £30 display. Corsets, bonnets and top hats are Bespoke Embroidery: for materials payable in also on hand to complete your historical Inspired by 1600s Blackwork Shirt cash on the day. Book at look. We love to see your dressing up too Saturday 1 June, 10.00–16.00 www.royal-needlework. Recreate the decoration on an Elizabethan org.uk/courses. so don’t forget to share your pictures shirt using traditional blackwork techniques All sessions run from 10.00 on Facebook and Twitter.
Load more

Recommended publications
  • Volume 2, Issue 3, Autumn 2018
    The Journal of Dress History Volume 2, Issue 3, Autumn 2018 Front Cover Image: Textile Detail of an Evening Dress, circa 1950s, Maker Unknown, Middlesex University Fashion Collection, London, England, F2021AB. The Middlesex University Fashion Collection comprises approximately 450 garments for women and men, textiles, accessories including hats, shoes, gloves, and more, plus hundreds of haberdashery items including buttons and trimmings, from the nineteenth century to the present day. Browse the Middlesex University Fashion Collection at https://tinyurl.com/middlesex-fashion. The Journal of Dress History Volume 2, Issue 3, Autumn 2018 Editor–in–Chief Jennifer Daley Editor Scott Hughes Myerly Proofreader Georgina Chappell Published by The Association of Dress Historians [email protected] www.dresshistorians.org The Journal of Dress History Volume 2, Issue 3, Autumn 2018 [email protected] www.dresshistorians.org Copyright © 2018 The Association of Dress Historians ISSN 2515–0995 Online Computer Library Centre (OCLC) accession #988749854 The Journal of Dress History is the academic publication of The Association of Dress Historians through which scholars can articulate original research in a constructive, interdisciplinary, and peer reviewed environment. The Association of Dress Historians supports and promotes the advancement of public knowledge and education in the history of dress and textiles. The Association of Dress Historians (ADH) is Registered Charity #1014876 of The Charity Commission for England and Wales. The Journal of Dress History is copyrighted by the publisher, The Association of Dress Historians, while each published author within the journal holds the copyright to their individual article. The Journal of Dress History is circulated solely for educational purposes, completely free of charge, and not for sale or profit.
    [Show full text]
  • Presenting the Fashion Object: Analyzing the Exhibition Fashioning the Object: Bless, Boudicca, Sandra Backlund
    Western University Scholarship@Western Electronic Thesis and Dissertation Repository 6-3-2014 12:00 AM Presenting the Fashion Object: Analyzing the exhibition Fashioning the Object: Bless, Boudicca, Sandra Backlund Elyse N. Tsotsos The University of Western Ontario Supervisor Bridget J. Elliott The University of Western Ontario Graduate Program in Art History A thesis submitted in partial fulfillment of the equirr ements for the degree in Master of Arts © Elyse N. Tsotsos 2014 Follow this and additional works at: https://ir.lib.uwo.ca/etd Recommended Citation Tsotsos, Elyse N., "Presenting the Fashion Object: Analyzing the exhibition Fashioning the Object: Bless, Boudicca, Sandra Backlund" (2014). Electronic Thesis and Dissertation Repository. 2093. https://ir.lib.uwo.ca/etd/2093 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. PRESENTING THE FASHION OBJECT: ANALYZING THE EXHIBITION FASHIONING THE OBJECT, BLESS, BOUDICCA, SANDRA BACKLUND (Thesis format: Monograph) by Elyse Tsotsos Graduate Program in Visual Arts A thesis submitted in partial fulfillment of the requirements for the degree of Masters of Art History The School of Graduate and Postdoctoral Studies The University of Western Ontario London, Ontario, Canada © Elyse Nicole Tsotsos 2014 Abstract This thesis discusses methods of display taken up by fashion designers Bless, Boudicca and Sandra Backlund, as seen in the museum exhibit of their work, Fashioning the Object, held at the Art Institute of Chicago from April 14 to September 16, 2012.
    [Show full text]
  • ROBYN HEALY B.A School of Architecture and Design College of Design and Social Context RMIT University October 2009
    STRIPTEASE: An investigation of curatorial practices for fashion in the museum A project submitted in fulfilment of the requirements for the degree of Doctor of Philosophy ROBYN HEALY B.A School of Architecture and Design College of Design and Social Context RMIT University October 2009 CChapter1-Final-B.inddhapter1-Final-B.indd 1 117/3/107/3/10 111:28:551:28:55 PPMM DECLARATION I certify that except where due acknowledgement has been made, the work is that of the author alone; the work has not been submitted previously, in whole or part, to qualify for any other academic award; the content of the exegesis is the result of work which has been carried out since the official commencement date of the approved research program; and, any editorial work, paid or unpaid, carried out by a third party is acknowledged. Robyn Healy August 2009 CChapter1-Final-B.inddhapter1-Final-B.indd 2 117/3/107/3/10 111:28:551:28:55 PPMM Strip 2 STRIPTEASE: An investigation of curatorial practices for fashion in the museum CChapter1-Final-B.inddhapter1-Final-B.indd 3 117/3/107/3/10 111:28:551:28:55 PPMM 4 CChapter1-Final-B.inddhapter1-Final-B.indd 4 117/3/107/3/10 111:28:551:28:55 PPMM What still dignity dwells in a suit of Cast Clothes! How meekly it bears its honours! No haughty looks, no scornful gesture: silent and serene, it fronts the world; neither demanding worship, nor afraid to miss it. Thomas Carlyle Sartor Resartus 1838 (1965, p.
    [Show full text]
  • Window Shopping: Commercial Inspiration for Fashion in the Museum." Fashion, History, Museums: Inventing the Display of Dress
    Petrov, Julia. "Window Shopping: Commercial Inspiration for Fashion in the Museum." Fashion, History, Museums: Inventing the Display of Dress. London: Bloomsbury Visual Arts, 2019. 31–62. Bloomsbury Collections. Web. 30 Sep. 2021. <http://dx.doi.org/10.5040/9781350049024.ch-003>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 30 September 2021, 00:32 UTC. Copyright © Julia Petrov 2019. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 2 WINDOW SHOPPING: COMMERCIAL INSPIRATION FOR FASHION IN THE MUSEUM In his work on the “exhibitionary complex,” Tony Bennett (1996) showed how nineteenth-century museums and galleries were intimately connected in their design and conception to the expanding commercial architecture of the same period. The technical possibilities and visual experiences of industrial exhibitions and shopping arcades found analogous applications in museum spaces. As Mackie noted, “Both the retail shop and the public repository are designed for the display of information that is predominantly visual: looking is a means for possession as well as knowledge” (1996: 325). This blurring of commercial and intellectual cultures within the museum continues to create unease and controversy, particularly in the case of fashion exhibitions (Anaya 2013; Gamerman 2014). This chapter investigates how the introduction of fashion—an increasingly important economic and social product in the industrial period—into museums created new connections and tensions between these two worlds. It was because of its position between the disciplines of economy and history that historical fashion entered and was interpreted in museums.
    [Show full text]
  • This Thesis Has Been Submitted in Fulfilment of the Requirements for a Postgraduate Degree (E.G
    This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Crafting Women’s Narratives The Material Impact of Twenty-First Century Romance Fiction on Contemporary Steampunk Dress Shannon Marie Rollins A thesis submitted for the degree of Doctor of Philosophy (Art) at The University of Edinburgh Edinburgh College of Art, School of Art September 2019 Rollins i ABSTRACT Science fiction author K.W. Jeter coined the term ‘steampunk’ in his 1987 letter to the editor of Locus magazine, using it to encompass the burgeoning literary trend of madcap ‘gonzo’-historical Victorian adventure novels. Since this watershed moment, steampunk has outgrown its original context to become a multimedia field of production including art, fashion, Do-It-Yourself projects, role-playing games, film, case-modified technology, convention culture, and cosplay alongside science fiction. And as steampunk creativity diversifies, the link between its material cultures and fiction becomes more nuanced; where the subculture began as an extension of the text in the 1990s, now it is the culture that redefines the fiction.
    [Show full text]
  • A History of the French Revolution Through the Lens of Fashion, Culture, and Identity Bithy R
    Bucknell University Bucknell Digital Commons Honors Theses Student Theses Spring 2012 The oM dernity of la Mode: a History of the French Revolution Through the Lens of Fashion, Culture, and Identity Bithy R. Goodman Bucknell University Follow this and additional works at: https://digitalcommons.bucknell.edu/honors_theses Part of the History Commons Recommended Citation Goodman, Bithy R., "The odeM rnity of la Mode: a History of the French Revolution Through the Lens of Fashion, Culture, and Identity" (2012). Honors Theses. 123. https://digitalcommons.bucknell.edu/honors_theses/123 This Honors Thesis is brought to you for free and open access by the Student Theses at Bucknell Digital Commons. It has been accepted for inclusion in Honors Theses by an authorized administrator of Bucknell Digital Commons. For more information, please contact [email protected]. i ii iii Acknowledgments I would like to thank my adviser, David Del Testa, for his dedication to history as a subject and to my pursuits within this vast field. His passion and constant question of “So what?” has inspired me to think critically and passionately. Furthermore, he has helped me to always face the task of history with a sense of humor. Thank you to my secondary advisor and mentor, Paula Davis, who has always encouraged me to develop my own point of view. She has helped to me to recognize that my point of view is significant; for, having something to say, in whatever medium, is a creative process. Thank you to the History, Theater, and English Departments, which have jointly given me the confidence to question and provided me a vehicle through which to articulate and answer these questions.
    [Show full text]
  • "Tableaux Vivants: the Influence of Theater." Fashion, History, Museums: Inventing the Display of Dress
    Petrov, Julia. "Tableaux Vivants: The Influence of Theater." Fashion, History, Museums: Inventing the Display of Dress. London: Bloomsbury Visual Arts, 2019. 113–136. Bloomsbury Collections. Web. 27 Sep. 2021. <http://dx.doi.org/10.5040/9781350049024.ch-006>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 27 September 2021, 22:22 UTC. Copyright © Julia Petrov 2019. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 5 TABLEAUX VIVANTS: THE INFLUENCE OF THEATER A painting is primarily experienced as a two-dimensional work of art, whereas museum exhibitions operate in three dimensions, and thus, the showmanship of theater has also influenced the display of historical fashion. Early curators such as Doris Langley Moore and the team behind the Costume Institute at the Met had theater design backgrounds and infused their exhibitions with the type of spectacle with which they were professionally familiar. Even now, major museums such as the Met often draw on the expertise of theatrical lighting and set designers to stage their blockbuster shows. In this chapter, theater and performativity are used to explain how the representation of life and movement was staged in fashion exhibitions. To a large extent, this has relied on the creation of mannequin “actors,” clothing’s occupants in effigy, which could be posed alongside other mannequins or objects and props, as though interacting with them. Whether by placing mannequins onto stages of period rooms or into semi-furnished vignettes, or by staging fashion shows where live models wore museum pieces, theatrical practices of choreography and spectatorship influence any display that attempts to inject a semblance of life to a mannequin pantomime.
    [Show full text]
  • Art, Life, and the Fashion Museum: for a More Solidarian Exhibition Practice
    Wallenberg Fash Text (2020) 7:17 https://doi.org/10.1186/s40691-019-0201-5 RESEARCH Open Access Art, life, and the fashion museum: for a more solidarian exhibition practice Louise Wallenberg* *Correspondence: [email protected] Abstract Professor, Dept of Media This article departs from the century-long understanding that fashion connects ‘life Studies/Fashion, Stockholm University, Stockholm, and art’, an understanding once advocated by Hans Siemsen in his avantgarde journal Sweden Zeit-Echo, to discuss how the museum constitutes an important space, or arena, where this connection is taking place. The museum as we know it is a space dedicated to displaying objects of art—and to some degree, of everyday life objects—and as such it constitutes a space for the linkage between the aesthetic and the profane, between art and life. However, as will be argued, as a space that has increasingly become dedicated to fashion—as a cultural, social and not least economic phenomenon—the museum does not embrace its full potential in displaying and problematizing fashion’s close and real relation to actual life, and especially, the very lives that produce it. The museum and its curatorial practices, it will be argued, ought to strive less to ofer its audiences spectacular displays of extravagant designer fashion—and instead dare to deal with the urgent quest for and necessity of a reformed fashion industry in which textile and garment workers can actually lead safe and liveable lives. Keywords: Fashion exhibitions, Museum practices, Democratization, Consumptionism, Mediatization, Commercialization, Environmental and human solidarity Introduction Since the turn of the last Century, fashion has entered the museum space in if not unan- ticipated, then clearly astounding, ways.
    [Show full text]
  • Costume Institute Records, 1937-2008
    Costume Institute Records, 1937-2008 Finding aid prepared by Arielle Dorlester, Celia Hartmann, and Julie Le Processing of this collection was funded by a generous grant from the Leon Levy Foundation This finding aid was generated using Archivists' Toolkit on August 02, 2017 The Metropolitan Museum of Art Archives 1000 Fifth Avenue New York, NY, 10028-0198 212-570-3937 [email protected] Costume Institute Records, 1937-2008 Table of Contents Summary Information .......................................................................................................3 Historical note..................................................................................................................... 4 Scope and Contents note.....................................................................................................6 Administrative Information .............................................................................................. 6 Related Materials .............................................................................................................. 7 Controlled Access Headings............................................................................................... 7 Collection Inventory............................................................................................................9 Series I. Collection Management..................................................................................9 Series II. Curators' and Administrators' Files............................................................
    [Show full text]
  • Fashion in the Age of the Georgians: 1714 – 1800
    Fashion in the Age of the Georgians: 1714 – 1800 University of Southampton International Summer School 2017 The development of modern fashion has its roots in 18th century consumerism and design, the period in which the act of shopping and following fashionable clothing trends became widely available to wealthy English society. Fashion plays a crucial role in the development of English culture during the long eighteenth century (c.1688-1815), particularly for the elite classes. This short course will examine elite formalwear from this period, considering how dress was used to influence social attitudes towards issues such as gender, class and politics. We will looK at images and physical examples of surviving eighteenth century dress, and discuss the implications and impact of these garments. We will looK at construction methods, and have a short interactive embroidery worKshop, to explore the depth of skill and time needed to create elite fashions. The course will conclude with a visit to the Fashion Museum Bath, which houses a world class collection of contemporary and historic dress. The Fashion Museum's current exhibition 'The History of Fashion in 100 Objects' (running until January 2019) considers the evolution of dress from the 1600s to the present day, displaying examples of both men's and women's dress, footwear and children's clothing, and considering how the fashion of the past has influenced different styles today. Articles to Read: ‘Georgian Fashion and Clothing’ http://www.historic-uK.com/CultureUK/Georgian- Fashion/ ‘How
    [Show full text]
  • ICOM Costume News 2011: 1
    ICOM Costume News 2011: 1 ICOM Costume News 2011: 1 10 July, 2011 INTERNATIONAL COSTUME COMMITTEE COMITÉ INTERNATIONAL DU COSTUME Letter from the Chair Dear colleagues! Ann Resare has kindly collected the lectures from the Munich meeting and Bianca du Mortier Last year was a busy one for our Committee, has offered to gather them together so they can with all of two meetings! First in Munich, and be published on CDs. This will be cheaper both just two months later at the Triennial in to produce and to send, as printing and postage Shanghai. We are hoping to see some of our costs are now practically prohibitive. As Vicki Chinese colleagues again this fall in Belgrade, Berger has offered to collect the smallish namely curator Jillian Li of the Shanghai number of papers presented by Costume University Textile and Costume Museum, and Committee members in Shanghai (the other hopefully also Zhao Feng, who so kindly hosted papers were all in Chinese, but we can provide us on an all-day excursion to the National Silk short summaries in English), we may be able to Museum, of which he is the director. present a double-disc Proceedings 2010 ! The Costume Committee has just been awarded I participated as one of the 5 members of the a special performance subsidy for 2011 of €5,207 Strategic Planning Committee for ICOM’s new in recognition of our good record of publishing Strategic Plan for 2011-2013, an interesting and proceedings, the regular and attractive Costume intense project. I presented the finalized plan, on News , our clear and informative website, and not time, at the ICOM General Conference in Paris least of all, the content and energy of our in June, where it was unanimously approved - meetings.
    [Show full text]
  • Translating Fashion Into Danish
    Translating Fashion into Danish By Marie Riegels Melchior, Lise Skov & Fabian Faurholt Csaba Abstract With their association to enterprise and innovation, creative industries have emerged as a legitimate concern in national cultural and economical policy in many countries across the world. In Denmark, the fashion business, in particular, has been hailed as a model for successful (post)industrial transformation. In this paper, we explore the birth of Danish fashion from the ashes of the country’s clothing manufacturing industry, suggesting that the very notion of Danish fash- ion is indicative of – and enabled by – a development towards a polycentric fash- ion system. The intriguing idea that fashion could emanate from Denmark and secure growth, jobs and exports even outside the fashion business has taken hold among policymakers, and compelled the government to embrace fashion as a na- tional project. In investigating the emergence and rising stature of Danish fashion, particular at home, we first establish a theoretical frame for understanding the cultural economic policy and the motives, principles and strategies behind it. Then – drawing inspiration from Michel Callon’s “sociology of translation” with its moments of translation: problematization, interessement, enrolment and mobiliza- tion – we identify the actors and analyze their strategic roles and interrelationship through various phases of the development of Danish fashion. Callon’s actor net- work theory (ANT) is based on the principle of “generalized symmetry” – origi- nally using a single repertoire to analyze both society and nature. We adapt this principle to study the realms of market, culture and politics within a common ana- lytical framework. In our analysis, the state responds to industry transformation, interprets it and develops its own agenda.
    [Show full text]