Dressing Global Bodies

7-9 July 2016 University of AlbertA Edmonton AB Canada

www.dressingglobalbodies.com 8:00 Registration Ground floor foyer ECHA 8:00-9:00 Coffee 2nd floor foyer outside ECHA 2-190 9:00-9:20 Welcome & Opening of Conference featuring Asani - O Canada ECHA 2-190

9:30-11:00 PARALLEL Session 1 SESSION 1.1. TRADITION, TRADE & TRANSFORMATION IN AMERINDIAN , 18TH - 21ST CENTURIES – PART 1 ECHA 2-430 Chair: Adrienne University of Toronto, Canada Annette de Stecher University of Colorado Boulder, USA “Dress and Investiture: Honour and Occasion in Nineteenth-Century Wendat Chiefly Regalia”

Cory Willmott Southern Illinois University Edwardsville, USA “Visual Assimilation: Protestant Policies and Anishinaabe Everyday Dress, 1830s – 1930s” Alexandra Nahwegahbow Carleton University, Canada “Cradleboards as Dress: Survivance and Sacred Powers for Mother and Baby”

SESSION 1.2 THE PERFORMANCE AND POLITICS OF DRESSING IN CHINA ECHA 2-420 Chair: Ryan Dunch University of Alberta Yuxian Song University of Alberta, Canada “Gender and Openness in the Late Ming Imperial Court in Beijing: Imperial Women’s Creative and Exotic Dressing” Jennifer Jay University of Alberta, Canada “Gender, Make-up and at Sea and on Stage: Muslim Admiral Zheng He (1371-1433) and His Contemporaries in a New Beijing Opera” Xiaolin Duan Elon University, USA “, State & Social Changes: Chinese Silk in the 17th-Century Global Trade”

SESSION 1.3 SHAPING BODILY KNOWLEDGE ECHA 2-150 Chair: Lesley Cormack University of Alberta Lianne McTavish University of Alberta, Canada “The Tapeworm as Textile in Early Modern Europe” Caroline Lieffers Yale University, USA “Yankee Legs and White Man’s Medicine: Artificial Limbs for Global Bodies

SESSION 1.4 DESIGNING, MAKING & DRESSING GLOBAL BODIES ECHA 2-140 Chair: Julia Petrov Royal Alberta Museum, Canada Sarah Woodyard Colonial Williamsburg Foundation, USA “18th-Century Female Mantua Makers and 21st-Century Makers: Uncovering the Skills and Techniques” Abigail Cox Colonial Williamsburg Foundation, USA “The Practice of Making 18th-Century Heads: Hairdressing within a Multi-Ethnic Colonial Fashion Environment” Katherine Townsend, Juliana Sissons, and Ania Sadkowska Nottingham Trent University, UK “Dressing the Baby Boomers: Rethinking for a New Demographic”

11:00-11:30 Coffee 2nd floor foyer outside ECHA 2-190

11:30-1:00 PARALLEL Session 2 SESSION 2.1 POWER, POLITICS AND THE PERFORMANCE OF DRESS ECHA 2-430 Chair: Antonia Finnane University of Melbourne, Australia Tara Mayer University of British Columbia, Canada “Power Dressing: Indian Elites and the Politics of Fashion in British India” Suchismita Chattopadhyay Jawaharlal Nehru University, India “Nationalist Fashion and Women’s Bodies: Two Cases from Colonial India”

SESSION 2.2 MODERN STYLES, POLITICAL EFFECTS ECHA 2-420 Chair: Julia Petrov Royal Alberta Museum, Canada Andrea Severson University of Texas El Paso, USA “Who Wears the Pants? A Comparative Study of American Public Reaction to Bloomers and Rationals” Sonya Abrego Pratt Institute, USA “Domesticating Otherness: The ‘Squaw’ and Patio Dress in Mid-20th Century America”

SESSION 2.3 ICONIC DRESS, GLOBALIZING WORLD ECHA 2-190 Chair: Sarah Cheang Royal College of Art, UK Ana Cardoso, and João Cordeiro University of Saint Joseph, Macau “The Ceremonial Wedding Costume in Macanese History: Cross-cultural Practices & Patterns of Dress in a Colonial Context” Evan Stanfield Concordia University, Canada “American Blue in Japan: How Blue Jeans Helped Mediate a Cold-War Cultural Exchange”

Vicki Kwon University of Alberta, Canada “ of the Women’s Militia Performance in the 2009 National Day Parade: The New Ideal Women of China in the Transnational Flow of Pop Culture in East Asia”

SESSION 2.4 SLAVE CLOTH/ IN THE EARLY MODERN WORLD ECHA 2-150 Chair: Giorgio Riello University of Warwick, UK Anka Steffen Europa-Universität Viadrina Frankfurt (Oder), Germany “Silesians and Slaves: How Linen Textiles Connected East-Central Europe, Africa and the Americas” Jody Benjamin University of California Riverside, USA “Reading Cloth Consumption and Clothing Practices among the Enslaved in 18th-century Senegambia/Upper Guinea” Miki Sugiura Hosei University, Japan “Slave Clothing and Early Modern Dutch Cloth/Clothing Circulations in the Indian Ocean World”

SESSION 2.5 MAKING MASCULINE DRESS: COMPARATIVE PERSPECTIVES ECHA 2-140 Chair: Colleen Skidmore University of Alberta, Canada Jane Malcolm-Davies University of Copenhagen, Denmark “Men, Materials & Making: Knitting in the Early Modern European Market” Jonathan Kaplan University of Technology Sydney, Australia “The Sartorial, Social and Aesthetic Role of Jewish Men in Fin de Siècle Vienna”

1:00-2:30 Lunch 2nd floor foyer outside ECHA 2-190

1:00-2:30 Meet the Editor ECHA 2-150 Take this opportunity to meet the editor of Textile History, Dr. Vivienne Richmond. She will discuss the process & possibilities of publishing with this highly ranked journal. 2:00-3:30 University of Alberta Museum Tours

Guided tours: Mactaggart Collection, the Ethnographic Collection, or the Clothing & Textile Collection, Human Ecology. Please meet at the registration desk at 1:40pm to be escorted to the collection site. 2:30-4:00 PARALLEL Session 3 SESSION 3.1 BODIES IN MOTION WITHIN A GLOBALIZING WORLD ECHA 2-430 Chair: Annette de Stecher University of Colorado Boulder, USA Lauren Bird Queen’s University, Canada “Costuming a Nation: Materiality and Femininity in Victorian Romantic Ballet” Cecily Devereux University of Alberta, Canada “‘A superior embodiment of Anglo-Saxonism’: Maud Allan and her Salome Costume” Emily Brayshaw University of Technology Sydney, Australia “A Pale Imitation: The Minkisi in the Parisian Music Hall of the Early 1900s”

SESSION 3.2 CLOTHING AND CULTURAL CONNECTIONS IN THE 19TH AND 20TH CENTURIES ECHA 2-420 Chair: Alexander Palmer Royal Ontario Museum, Canada Cynthia Cooper McCord Museum, Canada “The Roman : Ephemeral Fashion from the Eternal City” Naoko Inoue Tokyo International University, Japan “Meisen: The Fast Fashion of Japan in the 1920s and 1930s” Eliana Stratica-Mihail Independent Scholar, Montreal, QC, Canada “The White : Local and Global Aspects of Feminist Art in 1970s Quebec” SESSION 3.3 AFRICAN STYLE(S) AND THE POLITICS OF DRESS I ECHA 2-150 Chair: Ann McDougall University of Alberta, Canada Jody Benjamin University of California Riverside, USA “Clothing as a Map to Senegambia’s Global Exchanges during the late 18th Century” Lillian Omalara Shoroye University of Ibadan, Nigeria “The Victorian Woman in Calabar, Southern Nigeria” De-Valera Nana Yaw Mpere Botchway and Awo Abena Amoa Sarpong University of Coast, Ghana “Who Owns the Dress? Children’s Masquerade Clothing as a Contested Item in the Fancy Dress Club Politics of 20th-Century Cape Coast, Ghana”

SESSION 3.4 REPRESENTING GLOBALIZING FASHION, 17TH – 19TH CENTURIES ECHA 2-140 Chair: Anne Bissonnette University of Alberta, Canada Ami Mehta Courtauld Institute of Art, UK “Revisiting The Album of Persian and Animals with Some Drawings by Kaempfer (c. 1684-5): ‘Spaces Speak’ and ‘Clothes Communicate’ in Late-17th-Century Isfahan” Kendra Van Cleave San Francisco State University, USA “Turquerie and Enlightenment Philosophy in the French Fashion Press, 1770-1790” Sheilagh Quaile Queen’s University, Canada “Imaged Materiality: Two Kashmiri in Paintings by William Holman Hunt”

5:00-6:00 1st Plenary Speaker Enterprise Square Atrium 10230 Jasper Avenue Introduction: Gordon Houldon Director, China Institute, University of Alberta, Canada Antonia Finnane University of Melbourne “Dressing Maoist Bodies: Technology, cultural flows and world time in Chinese dress design,1950s - 1970s” 6:00-7:30 Plenary reception Enterprise Square University of Alberta Museum Galleries Sponsored by the China Institute and Museum and Collections Services, University of Alberta During the reception you are cordially invited to enjoy the featured exhibition and new exhibition at the University of Alberta Museums Galleries: China through the Lens of John Thomson (1868-1872) & Dandy Lines, a guest exhibition created by Caitlin Thompson. Both the plenary and reception are open to the public. GETTING TO ENTERPRISE SQUARE FROM ECHA From the LRT stop Health Science/Jubilee Auditorium (just outside our building), travel 4 stops on any northbound train to Bay/Enterprise Square. Northbound trains will say either Clareview or NAIT as their final destination. Disembark at the Bay/Enterprise Square stop and take the escalators up to the Galleries.

8:00 Registration Ground floor foyer ECHA 8:00-9:00 Coffee 2nd floor foyer outside ECHA 2-190

9:00-10:30 PARALLEL SESSION 4 SESSION 4.1 TRADITION, TRADE AND TRANSFORMATION IN AMERINDIAN DRESS, 18TH - 21ST CENTURIES – PART 2 ECHA 2-190 Chair: Sarah Carter University of Alberta, Canada Denise N. Green Cornell University, USA “ of Resistance: From Nuu-chah-nulth Thliitsapilthim (Dance Screens) to Huulthin” Fiona McDonald Indiana University, Perdue University at Indianapolis, USA “Creative Industries and Place, Linking Success to Location” Sherry Farrell Racette University of Manitoba, Canada “Ballgowns, Moccasins and Pad Saddles: Métis Dress as Spectacle and Performance” SESSION 4.2 DRESSING COLONIAL BODIES ECHA 2-420 Chair: Giorgio Riello University of Warick, UK Stephanie Koscak Wake Forest University, USA “Empire of Fashion: Reproducing London’s Beau Monde in 18th-Century Charleston” Jane Malthus Otago Museum, New Zealand “Dressing Settlers in New Zealand: Global Inter-Connections”

SESSION 4.3 AFRICAN STYLE(S) AND THE POLITICS OF DRESS II ECHA 2-150 Chair: Karen Tranberg Hansen Northwestern University, USA Suzanne Gott University of British Columbia Okanagan, Canada “African-Print Fashion in Historical and Contemporary Globalizing Eras” Elizabeth Fretwell University of Chicago, USA “Gender and Artisanal Clothing Production in Benin, West Africa, 1940s-1980s”

SESSION 4.4 FASHION POLITICS IN EUROPE & BEYOND ECHA 2-140 Chair: Adrienne Hood University of Toronto, Canada Ariane Fennetaux University of Paris Diderot, France “The Pine, the Cherry and the Bamboo? 18th-Century Men’s Dressing , Global Markets and Material Hybridization” Paula D. Davis Bucknell University, USA “Layers of Memories: Stories of Balkan Traditional Folk Dress”

SESSION 4.5 THE ICONIC “GLOBAL BODY”: CONNECTING PLACE AND PLACELESS THROUGH DRESS ECHA 2-430 Chair: Yoshiko Nakona University of Hong Kong, Hong Kong Keiko Suzuki Ritsumeikan University, Japan “A to Embody a Tropical Paradise: Domestication of the Aloha in Asia” Emi Goto University of Tokyo, Japan “Dressing ‘Pious’ Bodies: Globalizing Media and Narratives of Repentance in Contemporary Egypt” Ellan Spero Massachusetts Institute of Technology, USA/ Singapore University of Technology and Design, Singapore “‘Global Bodies’ in Transit: Airline Uniforms and National Branding”

10:30-11:00 Coffee 2nd floor foyer outside ECHA 2-190

11:00-12:30 PARALLEL SESSION 5 SESSION 5.1 ICONIC CANADIAN WEAR: EXPLORING CANADIAN IDENTITY THROUGH DRESS ECHA 2-430 Chair: Anne Bissonnette University of Alberta, Canada Julie-Ann Mercer University of Alberta, Canada “Peter Rindisbacher and the Views in Hudson’s Bay: Representations of Red River Metis Dress” Sara Komarnisky University of Alberta, Canada “Crafting for Display: Women’s Exhibitions at Worlds’ Fairs in New Zealand 1906-1940”

SESSION 5.2 DESIGN, PRODUCTION, AND MARKETING OF AFRICAN PRINTED CLOTH IN THE TWENTIETH CENTURY: SHIFTING DOMINANCE FROM EUROPE TO JAPAN ECHA 2-420 Chair: Ann McDougall University of Alberta, Canada Takamasa Ueoka Osaka University of Arts, Japan “The Origins of ‘African Prints’: Trans-bordering Copy Production in the Netherlands” Aya Ueda Kyoto Institute of Technology, Japan “From Kyoto to Africa: Creating ‘African Wax’ and ‘Javafrican Prints’ from Daido-Maruta in Japan, 1930s-1960s” MacKenzie Moon Ryan Rollins College, USA “Designed by Resident Indian Traders, Consumed by East African Women: Japanese Dominance in Imported Kanga Cloth Production, 1950-1981” SESSION 5.3 ECONOMIES OF TEXTURE: TURNING SKIN, FUR AND FEATHERS INTO APPAREL ECHA 2-150 Chair: Beverly Lemire University of Alberta, Canada Susanna Burghartz University of Basel, Switzerland “Patterns of similarity? Skin, Fur and Cloth in De Bry’s Travel Reports (1590 – 1630)” Katherine Bond University of Cambridge, UK “Hierarchies of Texture: Feathers, Fur, and Fabrics in Costume Books” Ann Rosalind Jones Smith College, USA “From Toucans and Flamingos: Mexican and Brazilian Feather Garments as Objects of Wonder and Trophies of Colonialism” 12:30-2:00 Lunch 2nd floor foyer outside ECHA 2-190

2:00-3:30 University of Alberta Museum Tours

Guided tours: Mactaggart Collection, the Ethnographic Collection, or the Clothing & Textile Collection, Human Ecology. Please meet at the registration desk at 1:40pm to be escorted to the collection site. 2:00-3:30 PARALLEL SESSION 6 SESSION 6.1 UNIFORMS AND UNIFORMITY THROUGH INSTITUTIONS AND CULTURE IN THE 19TH-CENTURY ECHA 2-430 Chair: Joan Greer University of Alberta, Canada Meaghan Walker University of Alberta, Canada “Soldiers at Sea? Anxieties about the Uniforms of the Royal Marines, 1793-1815” Vivienne Richmond Goldsmiths College, University of London, UK “The Colonial Stitch: Needlework Instructions in Britain and Canada (via Madras)” Sharon Peoples Australian National University, Australia “Globalization and the : Migrants and Migration”

SESSION 6.2 CIRCULATING, HIDDEN AND MISSING: INTERROGATING CLOTHING PATHS ECHA 2-420 Chair: Cecily Devereux University of Alberta, Canada Timothy Campbell University of Chicago, USA “Christian Boltanski’s Global Dress without Bodies” Oren Segal Tomas Bata University, Czech Republic “Hidden Trends in Post-Socialist Slovak Fashion: Re-visiting James Scott’s Work on Hidden Transcripts” Sarah Amato Alberta Legislative Assembly Office, Canada “Clothing Lost and Found in the Edmonton Transit System”

SESSION 6.3 FABRICS OF EMPIRE: MATERIALIZING LOCAL CULTURES IN A GLOBALIZED WORLD ECHA 2-150 Chair: Lisa Claypool University of Alberta, Canada Sarah Cheang Royal College of Arts, London, UK “Wearing the Chinese / Spanish : Fashion, Geography and Embodiment” BuYun Chen Swarthmore College, USA “Fabricating a Kingdom: Bingata and the Making of Ryūkyūan Court Costume” Rachel Silberstein Rhode Island School of Design, USA “Fashioning the Foreign: British Woollens in 19th-Century Chinese Dress”

SESSION 6.4 EUROPEANS WITHIN THE EARLY MODERN WORLD OF FASHION ECHA 2-140 Chair: Lianne McTavish University of Alberta, Canada Ashley Sims University of Alberta, Canada “‘Tuo or threi peicis of the best stuffs’: An Edinburgh Merchant in an Age of Global Exchange, 1630-1650” Elizabeth University of York, UK “‘Five of my Best silk Gowns [and] four of my best second ’: Bequeathing Women’s Clothing in 18th-century England”

4:00-5:00 2nd Plenary Speaker ECHA 2-190 Introduction: Beverly Lemire University of Alberta, Canada Karen Tranberg Hansen Northwestern University, USA “Global Fashion Encounters & Africa: Affective Materialities in Zambia” 5:00-6:30 Plenary reception 2nd floor foyer outside ECHA 2-190 Both the plenary and reception are open to the public.

8:00 Registration Ground floor foyer ECHA 8:00-9:00 Coffee 2nd floor foyer outside ECHA 2-190 9:00-10:30 PARALLEL SESSION 7 SESSION 7.1 SESSION 7.1 REVEALING MĀORI DRESS; DYNAMISM, AGENCY AND CROSS-CULTURAL EXCHANGE ECHA 2-430 Chair: Cory Willmott Southern Illinois University Edwardsville, US Catherine Smith University of Otago, New Zealand “What is traditional? How Study of pre-European Māori Textiles Reveals Culture” Hokimate Harwood Museum of New Zealand Te Papa Tongarewa, New Zealand “The Assimilation of European Materials and Culture in 19th-century Māori : Using Case Studies of Māori Feather Cloaks in the Museum of New Zealand Te Papa Tongarewa Collections” Chanel Clarke Auckland Museum, New Zealand “Māori Self-Fashioning on the Global Stage”

SESSION 7.2 REMAKING THE BODY AND BODY POLITIC: NEW IN AFRICA AND ASIA ECHA 2-420 Chair: Beverly Lemire University of Alberta, Canada Sarah Fee Royal Ontario Museum, Canada “The King’s New Clothing: ‘European’ Dress as Political Tool in Pre-Colonial Madagascar, c. 1820s-1865” Toby Slade University of Tokyo, Japan “The Hidden Geometries of Japanese Clothing” Paola Zamperini Northwestern University, USA “For the Love of a Peacock: Affect and Fashion in Late Imperial Chinese Fiction”

SESSION 7.3 FASHIONING THE COSMOPOLITAN BODY: PLACES AND SPACES ECHA 2-150 Chair: Guy Thompson University of Alberta, Canada Alex Aubry Northern Illinois University, USA “Cosmopolitan Arabia: Exploring Cross-Cultural Encounters through Dress & ” Alexander Palmer Royal Ontario Museum, Canada “Tweed, Ontario to Paris, France: Cultural Transformations of Fashions in the 20th Century” Syprien Christian Zogo Laval University, Canada “Clothing and the Culture of Appearances: Class, Gender and Identity in Colonial Bamun (West Cameroon)”

SESSION 7.4 COLONIAL FASHION, GLOBAL INTERVENTIONS I ECHA 2-190 Chair: Michael Polushin University of Alberta, Canada Amalia Ramirez Garayzar Universidad Intercultural Indígena de Michoacán, Mexico “Rebozos, Pañones and Perrajes: Women’s Clothing in Colonial Latin American and the Manila Galleon” Sarah Templier John Hopkins University, USA “From Rags to ‘Everyday Fashions’: Stealing and Recirculating Clothes, Textiles and Accessories in Early Republican Philadelphia” Anthony Parent, Jr. Wake Forest University, USA “Dressed for Flight: Indented, Convicted, and Enslaved Runaways in Virginia, 1740-1775”

SESSION 7.5 COLONIZING DRESS, CREATING CULTURE ECHA 2-140 Chair: Sarah Carter University of Alberta, Canada Marcia Gail Anderson Independent Scholar, St. Paul, MN, USA “Gashkibidaagan: A Bag Worth a Pony: Ojibwe Bandolier Bags in the Upper Midwest, c. 1900-1925” Annette Atkins St. John’s University, USA “Walking Across Racial Lines” Anthony Parent, Jr. Wake Forest University, USA “Dressed for Flight: Indented, Convicted, and Enslaved Runaways in Virginia, 1740-1775”

10:30-11:00 Coffee 2nd floor foyer outside ECHA 2-190

11:00-12:00 3rd Plenary Speaker ECHA 2-190 Introduction: Giorgio Riello University of Warwick, UK Dana Leibsohn Smith College, USA “Colonial/Cosmopolitan: Dressing Up in Spanish America” 12:00-1:30 Plenary reception lunch 2nd floor foyer outside ECHA 2-190 Both the plenary and reception are open to the public. 1:30-3:00 PARALLEL SESSION 8 SESSION 8.1 THE POLITICAL PRACTICE OF MAKING ECHA 2-430 Chair: Vivienne Richmond Goldsmith College, UK Hissako Anjo Bunka Gakuen University, Japan “Japanese Tailors and Tailoring Techniques: Focusing on the Reception of Western Tailoring Methods in the Early 20th Century” Caitlin Thompson Glenbow Museum, Canada “Dandy Lines: Beneath the Surface of the Western Sartorial Identity” Steven McNeil Queen’s University, Canada “Dressing the Part: Gender, Politics and the Commissioned for Jeanne Sauvé’s Investiture as Governor General of Canada” SESSION 8.2 CULTURES & COSTUME: BOLLYWOOD & THE INDIAN SUBCONTINENT OF DRESS ECHA 2-420 Chair: Betsey Boone University of Alberta, Canada Dalbir S. Sehmby Campus St. Jean, University of Alberta, Canada “The Punjabi Sikh Bana: Manifesting Identity through Fashion” Cheri Vasek University of Hawai’i, Manoa, USA “Through an Indian Lens: Film Costume Designers Interpret the World” Deepsikha Chatterjee Hunter College, City University of New York, USA “Bollywood Bodies: Definitions Over Decades and Across Regions” SESSION 8.3 FASHION SYSTEMS DISRUPTED ECHA 2-150 Chair: Donica Belisle University of Regina, Canada Linda Welters University of Rhode Island, USA “Fashion Systems Collide: The Contact Period in New England, 1524-1675” Rosalind Rothwell Georgetown University, USA “From Imperial Dress to Yankee Fashion: Indian Calico & the Chesapeake, 1721-1793” Catherine Mas Yale University, USA “The Reform Dress as Technology in 19th-Century America”

SESSION 8.4 LOCAL STYLES, GLOBAL INFLUENCES ECHA 2-140 Chair: Colleen Skidmore University of Alberta, Canada Salvatore Ciriacono University of Padua, Italy “Venetian Dressing: The Capital, the Mainland, the Maritime Provinces” Gabi Julia Schopf University of Bern, Switzerland “Local Distribution of Global Textiles: East Indian Silks and Printed Cottons in the Basel Newspapers” Anne Bissonnette University of Alberta, Canada “Across Time & Place: Investigating Classical and Continental Influences in Macaroni Dress”

10:30-11:00 Coffee 2nd floor foyer outside ECHA 2-190

1:30-3:00 PARALLEL SESSION 9

SESSION 9.1 RETAILING AND CONSUMING: GLOBAL & LOCAL ECHA 2-420 Chair: Sarah Carter University of Alberta, Canada Emily C. Bruce, & Mary Jo Maynes University of Minnesota, USA; Eric S. Roubinek University of North Carolina Asheville, USA “Markets, Class-Cultures, and Girls’ Self-Fashioning in South-western Germany, 1750-1850” Jonathan Gosnell Smith College, USA “The Fashionable Franco-American: At the Bon Marché on the Merrimack” Donica Belisle University of Regina, Canada “Dress and Citizenship in a White Settler Nation: The Case of Canada before World War II”

SESSION 9.2 GLOBALIZING, MATERIALIZING ASIAN DRESS ECHA 2-150 Chair: Lisa Claypool University of Alberta, Canada Abby Lillethun Montclair State University, USA “The Javanese Kebaya: Tracery of Multiple Flows” Ann Salmonson University of Alberta, Canada “Recycling the Emperor: From the Grand Sacrifice to Paris Fashion Week”

SESSION 9.3 GLOBALIZING, MATERIALIZING ASIAN DRESS ECHA 2-150 Chair: Lisa Claypool University of Alberta, Canada Abby Lillethun Montclair State University, USA “The Javanese Kebay: Tracery of Multiple Flows” Ann Salmonson University of Alberta, Canada “Recycling the Emperor: From the Grand Sacrifice to Paris Fashion Week”

SESSION 9.3 SHAPING GLOBAL EXCHANGE: WORLDS OF FASHION & CLOTHING ECHA 2-190 Chair: Sarah Fee Royal Ontario Museum, Canada Giorgio Riello University of Warwick, UK “Wardrobes of Curiosity: Costume Books and the 16th-Century Shaping of Global Geographies” Beverly Lemire University of Alberta, Canada “Contact, Connection, Translation: Stitching the Global, c. 1600s-1800s” Laura Jocic University of Melbourne, Australia “‘Anything for Mere Show Would be Worse than Useless’: Emigration, Dress and the Australian Colonies, 1820-1860”

5:05-5:30 CLOSING REMARKS ECHA 2-190 up remarks presented by Antonia Finnane, Karen Tranberg Hansen & Dana Leibsohn

Sonya Abrego Pratt Institute, USA "Domesticating otherness: The ‘Squaw’ and Patio dress in midcentury America" In the postwar United States a full-skirted, slim-waisted dress with embellished neckline trimming emerged in women’s apparel. In silhouette and construction it represents an American iteration of designer Christian Dior’s celebrated New Look, yet this particular style is described using two names; some manufacturers referred to it as a Squaw Dress, while others employed the name Patio Dress in relation to the same garment. The Squaw Dress moniker suggests a Native American connection, while Patio Dress evokes outdoor domestic spaces and Western lifestyles. Both were advertised as casual stylish options for middle-class women in popular fashion periodicals, and through Western apparel catalogs. Employing close examination of garments and advertising, this paper will contextualize the Squaw/Patio dress in relation to popular midcentury fashion and examine its often-spurious associations with and appropriations of Native American aesthetics and dress traditions. Furthermore, building upon the work of Nancy Parezo, I will address how the term “squaw,” typically employed as a derogatory slur against Native American women, came to be used in connection to fashionable modes and how this reveals contradictory perceptions of Native American women and contemporaneous conceptions of white femininity.

Sarah Amato Alberta Legislative Assembly Office, Canada "Clothing Lost and Found in the Edmonton Transit System" This paper, part of a larger art project, will examine the clothing deposited in the Edmonton Transit System’s Lost and Found for what it might reveal about the diverse people who use public transit and their material priorities: the clothing they carry, misplace, discard and reclaim. Through repeated visits over the winter months of 2016, I will examine the clothing deposited in the Edmonton Transit System’s Lost and Found. I will also conduct interviews with the transit personnel who ‘rescue’ lost objects and place them in the repository, as well as the staff who run the office, care for the inventory, return items to owners and discard unclaimed articles. Drawing on material culture theory, this paper will have relevance for the ways we think about the diverse meanings of clothing as it circulates through different contexts and transitions from intimate belonging to discarded, lost and (potentially) recovered item. Particular attention will be paid to the ‘materiality of care’ exemplified by transit personnel as they steward the collection, as well as the extent to which items in the Lost and Found evoke a particular place and time – Edmonton as a multicultural and winter city in 2016.

Marcia Gail Anderson Independent Scholar, USA "Gashkibidaagan: A Bag Worth a Pony: Ojibwe Bandolier Bags in the Upper Midwest, c. 1900-1925" The Ojibwe bandolier bag is the iconic element of Ojibwe formal dress that demonstrates the mercurial nature of power relations among whites and Indians in the Upper Midwest in the 19th and 20th centuries. The bandolier bag exhibits the fine craft work of its maker and functioned symbolically as a visual armor that protected the wearer and his or her cultural family unit from the inequities, loss of control, and poverty suffered by members of their disenfranchised communities. In the Minnesota region, Ojibwe bandolier bags or gashkibidaaganag became, have long appealed to collectors (both native and Euro-American) so a large number of bags have made their way into public collections. In this paper I will focus on the bandolier bags worn so proudly at the White Earth Reservation Powwow in Minnesota in 1905 at an especially low point in Ojibwa life in the Great Lakes region. This paper is part of my larger project – recently submitted for publication by the Minnesota Historical Society Press – that examines hundreds of these bags that demonstrate the skills and talents of their makers, the intercultural role of native “crafts” and souvenirs, and the dual identity of clothing.

Hissako Anjo Bunka Gakuen University, Japan “Japanese Tailors and Tailoring Techniques: Focusing on the Reception of Western Tailoring Methods in the Early 20th Century” The Westernization of Japanese fashion has been much discussed in prior studies, nevertheless, there are few that paid much attention to the reception of tailoring techniques in Japan from the West. By focusing on the relations between Japanese tailors and Western schools to train tailors, this paper attempts to clarify how they learned the most advanced tailoring methods in the early twentieth century. To answer this question, I will point out the following three aspects. 1) Japanese tailors who learned at Western professional schools. 2) Influences of publications from Western training schools, especially the Minister’s Cutting Academy in London and the Jno. J. Mitchell School in New York which were the most popular schools to train tailors in the early twentieth century. 3) Japanese tailors’ studies on the tailoring techniques based on Minister’s and Mitchell’s methods. Moreover, this paper also explores the opposition against the reception of Western tailoring methods. When the methods were shared among Japanese tailors, some of them feared that artisanal skills were taken over by rational and effective methods. Thus, admitting the necessity for the technical progress, they posed critical questions about their reception. I here find Japanese tailors’ complicated answer to Western tailoring methods.

Annette Atkins Saint John's University, USA "Walking Across Racial Lines" In 1870 George Bonga stepped into Charles A. Zimmerman’s photography studio in St. Paul, Minnesota to sit for portrait. He dressed formally and sat with a faux wood-paneled and lace curtained backdrop and in a desk chair. This son of an African-British father and Ojibwa mother chose to complete his ceremonial outfit with moccasins. I begin this paper telling this man’s story and explicating this photo, focusing especially on its layered and multiple racial and cultural codes, and concentrating especially on his . The choice of reflects weather and landscape, of course, but as anyone who has ever decided between a wingtip and a running knows, other factors go into such decisions. In this case I am exploring the footwear choices of mixed race people in the Great Lakes Region during and at the end of the fur trade era. This examination takes us into rich stories about identity, assimilation, gender, and race. This is part of my larger work on shoes as tellers of North American history. Alex Aubry Northern Illinois University, USA "Cosmopolitan Arabia: Exploring Cross-Cultural Encounters through Dress & Adornment" This paper attempts to debunk the assumption that the inhabitants of the Arabian Peninsula lived in relative isolation, through rare examples of traditional dress and adornment that point to centuries of cross-cultural encounters, culled from a unique private collection in Saudi Arabia. Unlike many western countries, Saudi Arabia’s finest examples of traditional costumes do not reside within national or established cultural institutions. Instead the stewards of such collections tend to be private collectors and charitable organizations. Among them is the Al Nahda/Art of Heritage Collection of Saudi Traditional Arts, in Riyadh. Founded by Princess Haifa Al Faisal, the wife of the former Saudi Ambassador to Washington D.C., this unique collection was catalogued and conserved in Chicago for over a decade before returning to the Kingdom. Amongst its holdings are exceptional examples from Saudi Arabia’s coastal region of Hijaz, home to historically cosmopolitan urban centers such as Mekkah, Medina and the port city of Jeddah. The region’s early exposure to international trade and a steady influx of religious pilgrims from around the world, resulted in distinctive hybrid forms of dress, reflecting European and Ottoman influences as well as that of regional cultural centers such as Damascus and Baghdad.

Donica Belisle University of Regina, Canada "Dress and Citizenship in a White Settler Nation: The Case of Canada Before World War II" This paper examines white women’s writings about fashion in Canada between the 1890s and 1930s. Specifically, it inquires into how white, middle class women imagined dress during this time. Mindful of their positions as respectable wives and mothers, many women advocated fashions that reflected chastity and elegance. Apparel that was cheap and revealing, they warned, would not reflect well on their characters. It would show them to be poor and immodest, and hence ineligible for recognition as respectable citizens. Drawing on materials from the reform, temperance, home economics, clubwomen, and farm women’s movements in English and French Canada before World War II, this paper suggests that race and class imbued white Canadian women’s dress ideals. Certainly, these women valued dress as an outlet for creativity and performance. They also saw fashion as a “prosumer” endeavour – one that involved both production and consumption. Fashion, furthermore, was an arena in which cosmopolitanism could be communicated. Nonetheless, when considering white Canadian women’s attitudes toward dress, it is also important to keep in mind that fashion was a mode of differentiation. Just as dressing smartly could indicate modern citizenship, so could dressing “poorly” – or in ways that suggested poverty – become reasons for exclusion.

Jody Benjamin University of California Riverside, USA "Clothing as a Map to Senegambia's Global Exchanges during the late 18th-century" Session 3.3 Analysis of import data combined with descriptive travel accounts open a window into the material conditions of life in western Africa that reveals a wider diversity and complexity of engagement than permitted within the lens of European/African binary implied by many historiographical approaches to the Atlantic slave trade. Throughout the multi-cultural, multi-lingual landscape of Senegambia, dress was a critical means of self- identification and affiliation where Fuulbe, Serakholle, Jakhanke and other Mande-speaking groups lived in close proximity, sometimes clustering in densely settled trade towns and sometimes dispersed across small rural villages. The malleability of clothing styles, and the ability of individuals to adapt or change clothing styles to assert affiliation or belonging within a given social group seems particularly relevant to historical processes in late 18th century western Africa where the violent disruptions of ethnic and religious conflict, drought and slave raiding kept populations on the move and ethnic identity in flux. This paper argues that analysis of dress and clothing resituates our understanding of West Africa’s global engagements during the transformative 18th century.

Jody Benjamin University of California Riverside, USA "Reading Cloth Consumption and Clothing Practices Among the Enslaved in 18th-century Senegambia/Upper Guinea" Session 2.4 In thinking about the production and circulation of cloth and clothing for enslaved Africans, the experiences of 18th century Africans enslaved in parts of western Africa present a different pattern from those in the Americas. In western Africa, imported textiles were an important element in a complex of commodities exchanged between Europeans and Africans of the Senegambia and Upper Guinea regions. These cloths were known by hundreds of names including “Guinea cloths.” They were consumed in many western African societies, and absorbed into local systems of social differentiation. Enslaved workers tending their owners’ fields of millet, cotton and indigo appear in 18th century accounts of European visitors to Senegambia in a variety of ways— from “completely nude” to dressed in a simple white cotton cloth around the . They also appear as elaborately dressed soldiers beholden to a king and of higher social status than commoners. The diversity of these representations of enslavement, as partially discernible through a consideration of cloth and clothing, complicate historical constructions of Atlantic slavery and of enslaved Africans with examples from western Africa that both adhere to and transcend colonial frameworks.

Lauren Bird, Queen's University, Canada "Costuming a Nation: Materiality and Femininity in Victorian Romantic Ballet" This paper investigates the costumes of female dancers in Victorian England during the heyday of Romantic ballet, from the early to mid- nineteenth century. Performed and disseminated throughout Europe from the 1820s until the late 1840s, Romantic ballet displaced the popularity of opera, its newfound appeal largely due to two revolutions in costuming: the use of muslin in the creation of tutus, and the alteration of soft shoes into hard-tipped enabling the dancer to expand her choreographic vocabulary. By considering the widely disseminated prints of star ballerinas Marie Taglioni (1804-1884) and Fanny Elssler (1810-1884), I examine how the material qualities of muslin costumes, signifying an ideal femininity, were juxtaposed against the so-called “pagan” costumes representing foreign national dance, and their association with sexual availability through material markers such as black lace. Framed as oppositional forces by their dance styles and costumes, Taglioni and Elssler presented, on stage and in fashion periodicals, a tense negotiation of female bourgeois respectability and the materiality and performance of nationhood. Audiences and critics alike inscribed upon the corporealities and costumes of Taglioni and Elssler strict binaries-Christian/pagan, ethereal/earthly, chaste/seductive-and dance scholars have largely bypassed material culture as a method to reconsider this narrative. I instead propose a complex ambiguity in the self-fashioning of professional dancers that reveal Victorian anxieties around the spectacle of empire and the ability to embody, reject, and subvert dominant notions of bourgeois femininity. Anne Bissonnette University of Alberta, Canada "Across Time & Place: Investigating Classical and Continental Influences in Macaroni Dress" This presentation aims to re-assess the specificity of 1760s-70s Macaroni fashions and understand the forces at play within a cultural, social and global context. In 1764 Horace Walpole described the young men who first assembled as a club and came to be called Macaronis as traveled individuals. Many were freshly returned from Italy where they had completed their classical education through the Grand Tour. They arrived with new notions of taste and refinement acquired abroad that affected their dress actices.pr The study will address the historiography on this subject and one of its downfalls: the extensive use of caricatures as visual sources of information. The presentation will explore alternative modes of representation to contextualize Macaroni dress and place clothing, accessories, hairstyles and cosmetics as part of a neoclassical approach to fashion with deep-seated roots in the early modern period. I will explore their attachment to the first century CE Flavian women’s “Orbis Comarum” hairstyle in light of the century’s playful and extensive wig fashions and will compare male and female Macaroni fashions with those of the French petit maître and petite maîtresse of the period.

Katherine Bond University of Cambridge, UK "Hierarchies of Texture: Feathers, Fur, and Fabrics in Costume Books" When garments and artefacts constructed from feathers made their way out of the Americas and into Europe, the intricacy of their manufacture rendered them pieces of wonder and admiration. Bearing witness to the feather’s transformation into the leading iconographical marker for New World identification, sixteenth-century costume books grappled with the civilising and de-civilising qualities being applied to the feather, along with its depiction more broadly. Similar ambiguities characterise the portrayal of fur and other textiles in costume imagery of the period. The mutability of material value is played out in the hierarchies of global identity and sartorial character that costume books constructed. This raises the question of where, precisely, the value of textures and textiles was located. The symbiotic relationship between skilled workmanship and inherent material character crafted vocabularies of texture which this paper seeks to address.

De-Velara Nana Yaw Mpere Botchway and Awo Abena Amoa Sarpong University of Cape Coast, Ghana "Who Owns the Dress? Children's Masquerade Clothing as a Contested Item in Fancy Dress Club Politics of Twentieth Century Cape Coast, Ghana" This study examines the politics of ownership of the child participants’ costume in Fancy Dress culture in Ghana. The Fancy Dress masquerade act, which synthesises ‘special’ fashion, music and dance, evolved from both foreign (European) cultural idioms and local (indigenous African) inventiveness during the colonial era, c. 18th century. Today street drama by Fancy Dress clubs complete many popular festive occasions like ethnic festivals, Christmas, New Year’s Day, and Ghana’s Republic Day and Independence Day. Our earlier study about children, Fancy Dress masks and eccentricity in Cape Coast, for Lexington Books’ Misfits: Children with a Twist (2017), chanced on an enduring struggle between adult and child performers over who owns the child’s clothing. Following that study, this work uses childhood studies and history to explore the child performers conscious development of a protest movement to negotiate ownership of their ‘own’ costumes against the traditional claim of ownership by their clubs. With this focus, this study reveals the factors for this tension over clothing that seems like valueless ragtag coverings. It interrogates the costume’s significance to the children, who buy them, and the adult ‘guardian’ performers who keep them for the clubs. It discusses the nature of the struggle so far.

Emily Brayshaw University of Technology Sydney, Australia "A Pale Imitation: The Minkisi in the Parisian Music Hall of the Early 1900s" Parisian music hall revues after 1917 typically featured opulent scenes of topless white women dressed in little else but ostrich plumes and rhinestones dancing to black American jazz. Such scenes coincided with a growing interest in African art in Paris, and French colonial expansion in Africa immediately after World War I. Exemplary is the Première Exposition d’Art Nègre et d’Art Océanien that opened in 1919 at the luxurious Devambez gallery, which exoticized the carved Kongo Minkisi and Fang Mabea on display by calling them fétiches. My paper will integrate a study of photographs, theatre programmes and media reviews from the 1910s and 1920s, and French theatre and cultural history. The preliminary results of my research reveal that dressing topless showgirls in ostrich plumes held a powerful erotic appeal in France after World War I, but that French collectors “undressed” African fétiches by removing their feathered headdresses to suit European tastes. My presentation will analyze images of the feathered showgirl in Parisian popular culture to show how their be-plumed costumes were a visual manifestation of French “negrophilia” in 1919, including the vogues for jazz and the so-called fétiches of l’art nègre.

Emily C. Bruce, & Mary Jo Maynes University of Minnesota, USA; Eric S. Roubinek University of North Carolina Ashville, USA "Markets, Class-cultures, and Girls' Self-fashioning in Southwestern Germany, 1750-1850" Young women played a critical role in Europe’s emergent industrial capitalist economy as producers, especially of textiles. They also played a role as consumers in regional and global markets for textiles and clothing, which were expanding rapidly by the mid-18th century. The changing relationship of girls to clothing markets and fashion is suggested by historical evidence about ownership of clothing, as well as by discussions in prescriptive literature and fiction. Far from trivial, young women’s self-fashioning played a role in economic development and social class formation, and it also raised urgent moral and political questions. Our paper will focus on class, gender, and generational dimensions of self- fashioning in southwestern Germany between the mid-18th and the mid-19th centuries. Drawing inspiration from the work of Hans Medick, we have collected dowry inventories from three communities and different social milieus – ranging from peasant to professorial families. We will analyze the kinds of goods that girls of different classes brought with them into marriage. We are interested in domestically produced textiles and clothing as well as those handed down, and those purchased on regional and global markets. We will also analyze advice and prescriptions about dress that were circulating in print media directed to German girls beginning in the late 18th century.

Susanna Burghartz University of Basel, Switzerland "Patterns of similarity? Skin, Fur and Cloth in De Brys' travel reports (1590 to 1630)" This paper will investigate into some qualities of clothes, their surfaces, designs and patterns with a specific focus on the intersection between fur and skin. By engraving attires of all parts of the world, the de Brys' used texture as a major clue to address questions of difference and similarity as well as a vast continuum between these two antipodes/oppositions. Thus the so- called Eastern and Western Voyages brought into interplay the European representations of habits and from American, European, Asian as well as African cultures. Read as a European global costume book these illustrated travel reports opened up a wide range of positions between "civil" and "savage" encoded in dress. Thereby one of the most important Early Modern collections of travel accounts works also as a meaningful archive for the history of dress.

Timothy Campbell University of Chicago, USA "Chirstian Boltanski's Global Dress without Bodies" In this paper I consider the global circulation of the artist Christian Boltanski’s large-scale installation Personnes/No Man’s Land (2010-2012), which has travelled in various iterations from Paris to New York to Japan. Incorporating some thirty tons of discarded or secondhand clothes and centering upon a crane that randomly selects and then discards this clothing amidst the audible pulse of recorded human heartbeats, this series of installations culminates Boltanski’s own long history of dress-based works of art and memory. My paper considers not only the artwork in itself but also the implications of a universal or globally communicable experience of worn clothing, which the Boltanski exhibition’s various showings around the world both promise and frustrate in various ways. I further extend the implications of the exhibitions themselves by putting the complex values, moods, and meanings of Personnes/No Man’s Land into more explicit (and more materially-oriented) conversation with the global circulation and adaptation of secondhand clothing, especially those dynamics that have featured prominently in thinking about dress in the wake of Karen Tranberg Hansen’s Salaula and other scholarship.

Ana Cardoso & João Cordeiro University of Saint Joseph, Macau "The Ceremonial Wedding Costume in Macanese History: Cross-cultural Practices and Patterns of Dress in a Colonial Context" This paper is part of an on-going research project about the influences on fashion tradition following the cultural encounters between Europe and Asia in the context of Macau, a special administrative region in China, formerly occupied and administrated by the Portuguese. In this text we address how the ceremonial wedding costume was adopted in Macanese weddings, where miscegenation occurred. The analysis covers the earlier colonial era until the end of the 19th century, combining three methodological approaches: 1) historical bibliographical research; 2) visual anthropology from paintings and early photographs; 3) interviews with traditional Macau tailors and Macanese families. Early conclusions indicate that the ceremonial wedding costume remained unaltered until then, with “double weddings” taking place (Gudorf, 2013; 陳勁峰, 2013), where the bride and the groom marry twice, in different ceremonies, with completely different clothing.

Deepsikha Chatterjee Hunter College, City University of New York, USA "Bollywood Bodies: Definitions Over Decades and Across Regions" This paper will explore body definition in Indian film from the early 1930s to the modern day. It will also include the regional differences in the perception of the idealized star figure, by examining preferences in Mumbai, Chennai and Kolkata: all major film production centers with distinct cultural identities. The Indian film industry is dominated by stars: male and female lead actors who portray larger than life roles, both on screen and off. Directors and designers create the visual vocabulary of body and costumes for these stars. Film actors not only play their part in the movies, but are placed on a pedestal in the ravenous fan culture of India. As a result, stars are pressured to appear immaculate, and much of the responsibility for maintaining a clear visual “brand” lies with film costume designers. Designers consult with directors and producers to create looks that satisfy the needs of performance, character and personality for the actor, and also attract viewer approval. The paper will examine specific makeup, hairstyles, shoes and accessories, fabric draping, tailoring and dress-making techniques through this lens. It will also look at popular genres of film in each region, and the resulting physical icons portrayed through costume. Suchismita Chattopadhyay Jawaharlal Nehru University, India "Nationalist Fashion and Women's Bodies: Two Cases from Colonial India" Fashion relays ritual, political and moral signals: expressing purity and corruption, indicating surrender and resistance, modifying bodies and sexualities. This is acutely borne out by the history of Indian nationalism-the use of khadi by Gandhi and swadeshi movement-but in a more telling manner by the sartorial reforms in colonial Kerala and Bengal. My paper focuses on the making of the modern Indian woman in the late nineteenth century, by looking at the sartorial experiments with the sari and the in colonial Bengal and Kerala. We will discuss how dressing women became a major preoccupation of the nationalist elite. While the sari aspired to elaborately conceal the bodies of Bengali upper caste women, the blouse became an occasion for intimacy with the body for the lower caste women of Kerala. While one brought new hierarchies into visibility, the other challenged visible hierarchies. What implications do such sartorial experiments carry for the ideology and practice of nationalism? What kind of a modern woman was taking shape through these dressing reforms? How does fashioning the body become a site of class, gender and caste contestations? The idea is to decode these political subtexts of nationalist fashion and ponder over how they work in the present.

Sarah Cheang Royal College of Art, UK "Wearing the Chinese/Spanish Shawl: Fashion, Geography and Embodiment" Fashion is an emphatically transnational form of modernity and yet it is continually made to serve national agendas and uses pervasive ethnic stereotypes to create cultural value. Fashion thus creates embodied and material engagements between national and cosmopolitan subjectivities. This paper explores the vexed topic of the Chinese/Spanish shawl, an object that linked Chinese production to Latin America colonial cultures, and European garments and aesthetics to Chinese motifs, materials and manufacturing techniques via Spanish trading posts in the Philippines. The names that the shawls accrued during the long nineteenth century (eg.: mantón de Manila; Spanish shawl; Flamenco shawl; Mexican shawl; Chinese shawl; piano shawl) hint at a multiplicity of identities and uses. The shawls were also visually and materially remarkable for their extravagant silk embroidery and heavy silk fringes. In the 1920s, they provided a vehicle for northern-European women to revel in simultaneous fantasies of oriental and Latin excess through fashions for both chinoiserie and tango dancing. The shawl’s iconography came to include tight wrapping around the naked female form, creating a highly sensual long-fringed dress. This paper will focus on questions of global histories, embodiment, desire and the realisation of modern femininities through the physical embrace of the Chinese shawl.

BuYun Chen Swarthmore College, USA "Fabricating a Kingdom: Bingata and the Making of Ryūkyūan Court Costume" On the 40th anniversary of Okinawa’s reversion to Japan in 2012, multiple galleries and museums across the archipelago commemorated the occasion with exhibitions of sumptuous robes and textiles known as bingata. Celebrated as a traditional Okinawan craft, bingata (trans. vermilion patterns) refers to a technique of printing vivid and intricate patterns on fabric that originated under the rule of the Ryūkyū Kingdom (1429‐1879). Commonly believed to be the textile of the former royal family, the material archive abounds with rich examples dating to the eighteenth and nineteenth centuries. Over the course of the late nineteenth and twentieth centuries, bingata became a cherished craft of a distinct Okinawan culture and tradition that traced its heritage back to the former kingdom. And yet, the textual and visual archive yields few clues as to bingata’s place in the wardrobes of the Ryūkyū elite prior to the nineteenth century. This paper explores the process by which bingata became firmly attached to the bodies of the Ryūkyū court and embedded in the popular imagination as an icon of Okinawan identity. By investigating the silences in the historical record alongside an examination of extant bingata, I seek to understand how empire and identity were imagined materially.

Salvatory Ciriacono University of Padua, Italy "Venetian Dressing: The Capital, the Mainland, the Maritime Provinces" Venetian luxury is well known. Damask, velvet and satin made its reputation for fashion, projecting an image of the town, its women, nobles and courtiers, but also “cittadini” (the venetian middle-class). Andrea Zucchi published in 1702 a work that is a fundamental source about the clothing of the Venetian patriciate. In 1724 the “Calende Venete” of the printer Bartoli renewed our knowledge about the latest local novelties in Venice and those from European capitals. There was a deep contrast between the richness of the Venetian apparel and the other towns of the Venetian State. We can also distinguish between the towns of the mainland and the towns of Istria, Dalmatia, and the Greek Islands (Corfù, etc). Every center showed a tradition connected with the economy of the area. My paper explores the regional divide in the Venetian state that went together with social divide, broken only after the French Revolution.

Chanel Clarke Auckland Museum, New Zealand "Māori Self-fashioning on the Global Stage" Māori consumption of the European world occurred during the first encounters with European explorers in New ealandZ in the late eighteenth century. Some of the earliest exchanges between Māori and non-Māori included clothing and textiles and Māori motivations for acquiring European dress were skillfully mediated from the outset. With increasing European settlement during the nineteenth century and the subsequent loss of land, status and authority many Māori travelled overseas to seek better prospects for their people by appealing to colonial authorities. The active manipulation of dress in constructing identity at home was undoubtedly intensified when Māori were abroad and such visits bring sartorial practices into sharp focus for more detailed analysis. Through two separate case studies, this paper will examine Māori notions of self and how that was expressed through fashioning the body when they chose to locate themselves at the metropolis rather than the periphery. How dress unfolded in this contact zone and the sartorial strategies Māori employed will be assessed to determine not only Māori understandings of themselves on the colonial stage, but also their understanding of others, whether they were situated along class, racial or tribal lines.

Cynthia Cooper McCord Museum, Canada "The Roman Scarf: Ephemeral Fashion from the Eternal City" This paper will problematize the entanglement of souvenir art within fashion culture in the second half of the nineteenth century through a study of the Roman scarf. A commoditized “invented tradition,” brightly striped silk and were initially part of a small-scale Roman souvenir art trade. Roman scarves were frequently named in mid-19th century travel guidebooks and European and North American travelers’ accounts of visits to Italy. Producers and modes of production remain frustratingly invisible; the authenticity of these textiles will be theorized in terms of connection to place rather than to maker, seller, or culture. By the late 1860s and early 1870s, imported and domestically-made Roman scarves were widely distributed across North America. Though as yet obscure in the historiography of dress, they appear in countless portrait photographs and newspaper advertisements. This paper will posit that while this new context of production and distribution was antithetical to the textiles’ associations with the authenticity of a very local economy, those connotations served to broaden and complicate their appeal as fashionable object. Once Roman scarves had acquired the symbolic status of fashion in a globalizing culture, they followed a path to obsolescence, tempered by a lingering nostalgia that endured several more decades.

João Cordeiro University of Saint Joseph, Macau See co-authored paper under Ana Cardoso

Abigail Cox Colonial Williamsburg Foundation, USA "The Practice of Making 18th-century Heads: Hairdressing within a Multi-ethnic Colonial Fashion Environment" The practice of making as an active form of scholarship is reflected in the ongoing research and recreation of fashionable eighteenth-century women’s hair. For the past couple of years research at the Margaret Hunter Millinery shop has veered towards another branch of their trade, hairdressing. Initially, hairdressing and its various components was being interpreted from a more basic perspective However, it became increasingly apparent that hairdressing and hair care in the eighteenth century, and its resulting rediscovery and recreation provide a dynamic and thought provoking discussion point regarding eighteenth-century women, the various social classes, and how non-Caucasian women participated in eighteenth-century hair fashion in the Western World. This paper will discuss how the reproduction of eighteenth-century hairdressing material and styles has resulted in a more intimate understanding of eighteenth-century western women across the European and North American continent, their hygiene, the practice, practicality, and achievability of the most fashionable of styles. Points of discussion will range from the recreation and application of the historical products used to make the hairstyles, the process of application, the success and failures of the recreations, and the next steps forward in research.

Paula D. Davis Bucknell University, USA "Layers of Memories: Stories of Balkan Traditional Folk Dress" The resplendent traditional folk dress of the Balkans, some styles dating to Roman times and older, was worn throughout the region as recently as WW II and visually and symbolically communicated economic, regional, local, gender, age, and marital status and identity. Although traditional folk dress is now generally worn only at folklore festivals and in-group celebrations it continues as an indicator of cultural and ethnic identity, creation, and transmission. Folk festivals in the Balkans, featuring amateur village groups, continue to be frequent events throughout the region and now provide an opportunity to study traditional folk dress. Contemporary use of traditional folk dress can still be seen as an indicator of cultural and individual identity and how culture is being preserved and changed in the 21st century. For this study, the author has conducted dozens of interviews with village performers in Bulgaria, Croatia, Hungary, Macedonia, Romania, and Serbia about their traditional dress, revealing rich oral histories and the deeply felt relationship between dress, culture, and identity. The survival of Balkan traditional folk dress and their stories provides a valuable contribution to the study of dress and helps to preserve these exceptional examples of traditional folk dress.

Annette de Stecher University of Colorado Boulder, USA "Dress and Investiture: Honor and Occasion in Nineteenth-century Wendat Chiefly Regalia" From the pre-contact period, Indigenous communities of the Eastern Woodlands formed diplomatic allegiances through ceremonies of adoption, in which the formal presentation of clothing and a name, in the language of their adoptive nation, invested the recipient with a new community identity. In the nineteenth century this tradition continued in the Wendat nation of Wendake, Quebec. Moosehair-embroidered moccasins, , chief’s , and headdress, presented by the Grand Chief, transformed the recipient. This was a great honour for the new chief, an event that was celebrated in both Euro-Canadian and Wendat communities. This paper will illustrate the elaborate clothing made for this occasion. It will then explore the nature of investiture, how dress “maketh the man,” and how in relations between the Wendat and Euro-Canadian settler communities, it gave the few Euro-Canadian recipients a new and lasting identity that was proudly received and honoured. The adoption of the of their new position and identity resonated with European protocols of change of estate and the formal commitment to new allegiances and responsibilities.

Cecily Deveraux University of Alberta, Canada "'A Superior Embodiment of Anglo-saxonism': Maud Allan and her Salome Costume" When dancer Maud Allan made her debut in London in 1908, she appeared, Judith Walkowitz has suggested, “as a superior embodiment of Anglo- Saxonism, a daughter of Greater Britain, who called ‘open the gates of the World’ to ‘all London’” (337). Dancing in a style often called “barefoot” as a synecdochic reference not only to the absence of shoes in some performances but to the display of skin, Allan’s “Anglo-Saxonism” was evident to her audiences in the whiteness that was revealed by her costumes, frequently celebrated—and criticized—for failing to cover as much of the body as fashion dictated for women at that moment in the early twentieth century. If Allan were, as the 1908 New York World review cited by Walkowitz puts it, to “open the gates of the World” to Britons at home, it was not only an effect of dance “preeminently regarded as a foreign import” in Britain (Walkowitz) but of the clothing she wore. This paper considers the relationship of the display of skin and, in particular, Maud Allan’s Orientalizing costume in her most famous dance “The Vision of Salome,” focusing on the implications of that costume for the “embodiment” of “Anglo-Saxonism.”

Xiaolin Duan Elon University, USA "Fashion, State, Social Changes: Chinese Silk in the Seventeenth Century Global Trade" During the seventeenth century, due to the voyages of European merchants, silk textiles from China traveled not only to Europe but also eastward to Japan and Mexico. Differing from the court-controlled tribute trade, this maritime trade was dependent on the silk industry in southeastern China. Private Chinese merchants played important intermediate roles in silk export despite state restrictions over trade with Japan. Foreign trade of silk was not the only thing that challenged the law code, so did the wearing of it. It was fashionable among Chinese merchants to wear luxury silk textiles with bright colors, which received continuing criticism from scholars for their violation of the . Similarly, the Mexican government also attempted to control the emerging silk fashion among commoners as a way to rebuild the local textile industry. Examining the regulation, trade and consumption of silk textiles, this paper draws connections between global fashion and state-society relationship in different parts of the world. It argues that the growing silk trade encouraged new social and economic desires, which challenged the traditional world in many ways, including diplomatic regulations, social hierarchy, and economic structure. The seventeenth century therefore foresaw a modern world defined by consumption.

Sarah Fee Royal Ontario Museum, Canada "The King's New Clothing: 'European' Dress as Political Tool in Pre-colonial Madagascar, c. 1820-1865" In 1822, King Radama I of Madagascar – an African island larger than France – adopted European-style tailored dress for himself; even more radically, he imposed it on his court and all in government service. The reaction was public outrage, with thousands of women marching on the capital city in protest. Nevertheless, within a decade, elite society was dressing in tailored , suit , and fashionable dresses made of fine imported fabrics, while the military and court adopted uniforms. This policy continued under Queen Ranavalona I (r.1829-1861). Historians have tended to interpret these events as Madagascar’s simple imitation of its French and British trading partners; more recently, Pier Larson (2001) has demonstrated the complex set of local and regional cultural politics at play in the aftermath of the Napoleonic wars. As more widely in south central Africa of the time (Comaroff 1995, Fair 2001, Glassman 1995), sartorial change was a political tool, used for shaping both internal and external audiences. This paper, based on a first study of the garments themselves – their cuts, fabrics and supply chains – reveals that Madagascar partially drew fashion inspiration from France and Britain, but also developed its own unique using pre-existing Malagasy material and ideological practices. In the context of regional and international relations, this new clothing formed part of sovereigns’ strategies to resist European colonization, with political equality of the time linked to the notion of ‘civilization’.

Ariane Fennetaux University of Paris, France "The Pine, the Cherry, and the Bamboo? Eighteenth-century Men's Dressing Gowns, Global Markets and Material Hybridisation" Starting from a case study of an indigo cotton ‘-shaped’ dressing gown in the collections of the Galliera Museum in Paris (inv GAL 1920.1.2039), the paper will focus on the 18th-century male dressing gown as a sartorial embodiment of the global circulation of technologies, tastes, patterns, and practices at the time. Made as it probably was on the Coromandel Coast using fabric, dyes, and technologies that were Indian, it borrowed its motif from Japan whilst its cut and construction were themselves inspired from the Japanese Kimono. It was produced for the European, most certainly the Dutch, market where such garments were immensely popular and were known as ‘Japonse Rok’ while in England the Indian term was used. The night gown thus neatly encapsulates the complex multi-polar networks of exchange and influence that were characteristic of the ‘interwoven globe’ that the development of such trading companies as the VOC and the East India Company aided and which led to new processes of technological, aesthetic and cultural hybridisation. From the reinterpretation of the Kimono/ or Kosode construction to accomodate European tailoring techniques such as bias cutting or the insertion of pockets, to the adaptation of the traditional Shôchikubai ( 松竹梅) motif that normally combines the pine, the cherry and the bamboo but here only uses two elements out of the customary three-part combination, the dressing gown is a material and a cultural hybrid. Typical of the process of hybridisation, the Shôchikubai motif, itself originally imported from China, which was linked in Japanese culture to the values of resilience, perseverance and courage associated with the Confucian masculine ideal, was transposed onto a garment that in Europe came to be equated with enlightened masculinity. Far from being merely formal and aesthetic, the process of hybridisation reached deep into cultural practices, the new bodily attitudes that appeared with the adoption of loose dressing gowns pointing to the intimate reach of global networks of trade and production.

Antonia Finnane University of Melbourne, Australia "Dressing Maoist Bodies: Technology, cultural flows and world time in Chinese dress design,1950s - 1970s" The Mao years are often depicted as a time of international isolation for China, and the clothing regime as autarchic, operating independently of any superior authority. The term 'Mao suit' sums up impressions of the vestimentary era. Such representations are well-founded in the observations and experiences of people who lived in or visited China at the time, and in the history of the People's Republic of China's (PRC) international relations. Yet this macrohistory suffices only in a generalized way to account for what people wore in the early decades of the PRC. Photographs, archival materials, ephemeral literature, even articles in mainstream media, provide materials for microhistories that do not so much challenge the larger story as coexist with it. In the persistence of some 'bourgeois' fashions, the variety of socialist styles, and the sensitivity of dress designers to trends beyond the borders of New China, lies evidence that China was attuned to world time.

Elizabeth Ann Fretwell University of Chicago, USA "Gender and Artisanal Clothing Production in Benin, West Africa, 1940s to 1980s" This paper examines the relationship between the history of gender in Benin, West Africa and the expansion of artisanal clothing production. It draws upon recently completed research in the archives of France, Senegal, and Benin, as well as 90 oral histories, including over 60 collected from needleworkers. In the 1940s, there was little sewn clothing production in the central region of the French colony of Dahomey (Benin). Men far outnumbered women in the trade and Beninois dress practice consisted mostly of wrapped and draped cloth. However, by the 1980s, over twenty years into the postcolonial period, apprenticing to a tailor and later opening a workshop had become one of the most popular career choices for both men and women and clothing culture was exceptionally varied. This paper shows how artisanal tailors and seamstresses re-fashioned themselves as 'modern men' and 'respectable women' and how this discourse on tailors shaped and was shaped by changes within production. These changes included the shifting trajectories of craft knowledge, the new marketing opportunities offered by urbanization and the end of colonialism, as well as the changing meanings of place of production - the market, home, or workshop.

Jonathan K. Gosnell Smith College, USA "The Fashionable Franco-American: At the Bon Marché on the Merrimack" Emile Zola’s 1883 novel Au Bonheur des Dames brought dramatic realism to the portrayal of the French department store, its dazzling displays and masses of workers and shoppers. The department store, a product of Second Empire Paris, participated in a fervent experiment in business and culture, as growing middle classes entered the market place and consumer society. This paper explores an American version of a similar story in Lowell, Massachusetts where a Bon Marché establishment rose to prominence on Main Street and dictated the consumer needs of the city's residents for a century, from 1878 until 1976. The store was especially influential in the transformation of French-Canadian women of peasant stock into fashionable young Franco-American women, Lowell's famous Mill Girls. Lowell was one of the leading industrial centers of New England and attracted French Canadian workers from neighboring Quebec in large numbers to work in its textile mills. Advertisements in Lowell's French language daily newspaper, L'Etoile, announced the store’s wares to eager buyers in ethnic enclaves. In looking at literary and commercial representations of fashion and consumer tastes, in a postcolonial mill town with strong French ancestry, the paper will underline the power of traveling cultures.

Emi Goto University of Tokyo, Japan "Dressing 'Pious' Bodies: Globalizing Media and Narratives of Repentance in Contemporary Egypt" Since the 1970s, the number of Muslim women who wear certain styles of has increased in many parts of the world. Narratives of their journey from unveiled to veiled have been told on various occasions. Some of these narratives include strikingly similar moments of “miracle,” such as recovery from fatal diseases, dreams or visions of the Prophet, or sudden waves of indescribable feelings. This paper describes this situation, highlighting cases of Egyptian “repentant artists”. Since the 1980s, many actresses, singers, and belly dancers in Egypt have decided to adopt the , retiring from successful careers or shifting their focus from entertainment to religious activities. On several occasions, these personalities, often called repentant artists, have disclosed the reasons for and circumstances of their decisions; their remarks have been spread through various media. Using booklets, magazines, and TV programs published and aired in Egypt between the 1970s and 2000s as its primary sources, this paper argues that the growing media coverage of the women’s narratives and styles of dress has helped form and consolidate the “ideal” motivations of, as well as preferred styles of, concealment. Finally, it contends that the Egyptian situation is a part of a global structure that encourages such “pious” bodies to dress uniformly.

Suzanne Gott University of British Columbia Okanagan, Canada "African-Print Fashion in Historical and Contemporary Globalizing Eras" African-print fashion—based on colorful, boldly patterned ‘African-print’ cotton textiles produced for African consumers since the late 19th century—encapsulates the historical depth and complexity of Africa’s globalizing relationships with the larger world. Despite a history of Indonesian inspiration and European manufacture, over a century of production geared to local tastes and desires forged a sense of African ownership, making African-print cloth an iconic African textile central to many west and central African popular fashion systems. In recent decades, African-print fashion has become an increasingly globalized and hotly contested terrain, with controversial shifts in production from Africa and Europe to Asia answering consumers’ needs for affordable African prints, enabling popular African-print fashion to flourish and expand in exciting new directions. This presentation addresses the ways that historical and contemporary developments in African-print production, consumption, and style have been shaped and expressed in one of African-print fashion’s earliest and most enduring contexts—Ghana’s popular fashion system. It explores the increasing interrelatedness between Africa’s grassroots fashion systems and emerging international runway fashion cultures, and examines increasing engagement with the internet and social media by African youth, who are creating new modes of African-print ownership and global interaction through virtual African-print fashion communities.

Denise Green Cornell University, USA "Robes of Resistance: From Nuu-chah-hulth Thliitsapilthim (Dance Screens) to Huulthin" Huulthin (ceremonial shawls) and thliitsapilthim (ceremonial partitions) are textiles used by Nuu-chah-nulth First Nations families to display their crests, which declare rights, responsibilities, and prestige. Huulthin are smaller in scale and adorn the physical body, while thliitsapilthim adorn spaces and transform places from secular to ceremonial. Thliitsapilthim employ increasingly explicit imagery to announce natural resource rights and territorial claims, supported by dancers adorned in huulthin. In addition to claiming and producing place, thliitsapilthim are considered a metaphoric huulthin worn by ancestors invited to participate in the contemporary potlatch—an invitation that occurs only after the thliitsapilthim is revealed and the potlatch floor is “set.” I draw upon ongoing ethnographic fieldwork (2009 –) with Hupacasath, Tseshaht, and Huu-ay-aht seamstresses, designers, dancers, and thliitsapilthim painters, alongside archival and museum-based research, to examine how iterations of these textiles have been in dialogue with one another as declarative forms of resistance since the late 19th century. The presentation begins with the Canadian potlatch ban, which precipitated the emergence of thliitsapilthim as a strategic, and flexible backdrop that enabled continuance of potlatch ceremonies. I follow the spirit of colonial resistance through the production and display of huulthin and thliitsapilthim throughout the 20th and 21st centuries.

Karen Tranberg Hansen Northwestern University, USA "Global Fashion Encounters & Africa: Affective Materialities in Zambia" Dress practices across Africa are embedded in long, on-going processes of global interaction, from within and beyond the continent. This paper explores two aspects of these processes. The first concerns the "domestication" of estern-inspiredW clothing styles, while the second deals with authentications of "traditional" dress. Zambia is the focus from the 1880s onward. Four periods are showcased, beginning with the development of "fashion savvy" by Africans pursuing their dress desires in the context of restricted clothing access and claims of colonial superiority; next, constructions of "traditional" dress in the era of nationalist rule after political independence in 1964; third, the popularity of imported secondhand clothing and its creative re-use when markets were liberalized in the late 1980s; and, finally, the contemporary fashion scene with interactions between consumers and tailors and emerging designers who are launching their brands, adopting local dress aesthetics and global taste inspirations in new style creations.

Hokimate Harwood Museum of New Zealand Te Papa Tongarewa, New Zealand "The Assimilation of European Materials and Culture in Nineteenth Century Māori Cloaks: Using Case Studies of Māori Feather Cloaks in the Museum of New Zealand Te Papa Tongarewa Collections" The assimilation of European materials and culture in nineteenth century Māori cloaks: using case studies of Māori feather cloaks in the Museum of New Zealand Te Papa Tongarewa collections. The identification of feathers in the Māori cloaks in the Museum of New Zealand Te Papa Tongarewa revealed a transitional phase in 19th century Māori clothing (Harwood, 2011a). The evolution of materials and techniques within Māori cloaks at this time highlights the technological and functional influences of European fashion, language and culture. eathersF from various introduced birds were incorporated into Māori cloaks of the mid-1800s as a means of demonstrating innovation and creative change replacing native birds that were declining and their use restricted by law. For example, colourful pheasant and peacock feathers that featured in Victorian , , and muffs were woven into Māori cloaks at this time. Likewise, coloured sheep’s wool taken from European blankets and clothing undoubtedly provided a ready-made material that could easily be assimilated into a ’s design. In pre-European times, Māori communicated information about our history and events orally, and in the form of carvings (whakairo) and weaving (kākahu). In the 19th century however we see an adaptation and appropriation of European symbolism and writing in Māori feather cloaks that likely communicated information about the wearer, the weaver, the birds used or an event from that time period (Harwood, 20011b).

Naoko Inoue Tokyo International University, Japan "Meisen: The Fast Fashion Prevails in Japan during the 1920s and 1930s" The purpose of this paper is to reconsider the significance of meisen kimono in Japan and also in the global context between 1920s-1930s by mapping its materials and motifs/techniques periodically and by shedding light on the trans-fiber characteristics in quality, price and use. In the 1870s, technological transfer in Japan’s silk spinning industries had distinctive meaning in Asia’s ‘catch-up’ to the West, stimulating the domestic demand for spun silk kimono meisen. The author clarifies that the clichéd impression of meisen, such as stiffness, thickness, taffeta-like silk with vivid art nouveau motifs are not sufficient to get the big picture. Since meisen was produced in many districts and the weavers invented and introduced different techniques, there was diversity in quality, motif and price. Even material combination varies from raw/spun silk to cotton/ rayon. As meisen spread as a uniform for young female students, it was literally ‘democratized’ in society. Suddenly in demand, meisen adopted all kinds of motifs: traditional, (not only western but) global, and even of war propaganda for children. This relatively cheap, silk-like fabric provided a fast-fashion equivalent to the kimono. Through the cutting edge media strategy of department stores and wholesalers, they succeeded in altering something unknown into something new and desirable. Lastly, this paper will discuss the global influence of meisen, taking into consideration certain meisen motifs compared with those in photos of Japanese women in concentration camps of the United States, as well as English kimono catalogues and Hawaiian .

Jennifer W. Jay University of Alberta, Canada "Gender, Make-up, and Costume at Sea and on Stage: Muslim Admiral Zheng He (1371-1433) and his Contemporaries in a New Beijing Opera" Zheng He xia Xiyang (Zheng He Sails to the South Seas) is a new Beijing opera dealing with the seven naval voyages that Zheng He made from Nanjing to as far as the east coast of Africa between 1405 to 1433. Performed in 2009, it is a new addition to the repertoire of Beijing opera and breaks with traditions in terms of the costume, make-up, and gender adjustments. My primary objective in the paper is to examine the presentation of Zheng He as a eunuch and a Muslim minority who demonstrated physical and moral strength to lead the crew of 27,800, most of them of Chinese ethnicity, in 60 ships to the South Seas. Secondly, I look at the globalization of dress as seen in dance troupe leader Youlan and the encounters with local peoples when the ships docked. Thirdly, I wish to show the gender switches and cross-dressing through the female character, Qin E, who disguises herself as a male medical apprentice, who then reverts to female dress once the disguise is revealed. The interesting fact is that Qin E is actually played by a male cross-dressing artist.

Laura Jocic University of Melbourne, Australia "'…Anyting for Mere Show Would be Worse Than Useless': Emigration, Dress and the Australian Colonies, 1820-1860" Colonized in 1788 as a British penal settlement, Australia was generally reckoned as a country where, for much of the nineteenth century, there was little need for fashionable dress. As late as 1853, with the onset of the gold rush, The Emigrant's Guide to Australia continued to urge prospective emigrants to pack only the most useful and durable items of clothing. How do we reconcile this with the emigrant's experience? With the steady influx of free settlers from the 1820s onwards, diaries, letters and surviving items of dress paint a different picture of colonial society, one which was often criticized for being preoccupied with fashion. Drapers, tailors and dressmakers advertised the latest goods and styles from overseas, while newly arrived emigrants found a society where the regular round of social activities required a range of appropriate dress. Contemporary commentary reveals that protocols of dress were keenly observed, suggesting that clothing styles and fashionable dress were subtle delineators of class and symbols of prosperity. This paper investigates the difference between promulgated dress expectations and the realities of immigrant life, and shows how dress was used to express status and prosperity in the shifting social boundaries of a colonial society-in- the-making.

Ann Rosalind Jones Smith College, USA "From Toucans and Flamingos: Mexican and Brazilian Feather Garments as Objects of Wonder and Trophies of Colonialism" Feathers from the New World, transformed from ceremonial garments into aristocratic possessions signaling colonial triumphs, were displayed in European curiosity cabinets and on European bodies. In Florence, the Medici grand dukes owned and exhibited Aztec feather garments and accessories; Henri III of France received a feather headdress brought to him from Brazil by his cosmographer, André Thevet; painters in the Netherlands and Germany depicted the wives of governors and princes wearing Tupinambà feather capes redesigned as mantles lined with silk. This talk will trace the pathways whereby the meanings of featherwork in Brazil were transformed as it was exported to Old World cities and states. I will analyze uses and depictions of these exotically beautiful objects in media including a French traveler's report, a German Carnival procession, and a Dutch state portrait.

Jonathan Kaplan University of Technology Sydney, Australia "The Sartorial, Social, and Aesthetic Role of Jewish Men in Fin de Siècle Vienna" The contribution of Viennese Jews to the cultural milieu of the Austrian capital in the fin de siècle is undisputed. Studies of “Jewish” fashion are currently dominated by the study of Jews and dress within several main models: clothing production and distribution, religious and identity politics, as well as issues of cosmopolitanism and consumerism within comparative European studies. These topics tend to be dominated by the study of the clothing politics and choices of women. Surprisingly, the sartorial role and appearance of Jewish men during much of the period has been largely ignored. Jewish women and men contributed to the social, artistic, economic and philosophical centrality of Viennese culture. But what did the Jewish urban men wear and in what ways was it significant? What role did Jewishness play (and how might Jewishness be defined in this time and place): what was the interlinked sartorial, social, and aesthetic role of Jewish men’s sartorial fashions in this Viennese social milieu? This paper will examine Viennese Jewish men and consider how men’s fashions in Vienna of the late nineteenth and early twentieth centuries not only facilitated the assimilation, or acculturation, of Jewish men, but also created fine distinctions between them and the dominant, non-­‐Jewish society. A range of sources ranging from literary texts to photography will be considered. Sara Komarnisky University of Alberta, Canada "A 'Canadian Tuxedo' and Edmonton-area Garment Work" This presentation begins autobiographically, with a discussion of a two-piece suit made by GWG in Edmonton in the 1970s and recently rediscovered in an attic. On the inside of the is a tag that says “Made in Edmonton,” providing an opportunity to reflect on the local history of sewing and garment work in Edmonton. Usual stories of garment work in Edmonton focus on the establishment of the GWG factory, its reliance on immigrant labour, the changing global economy, and the closure of the factory in 2004. But there is a longer and more complex history of garment work in Edmonton, from women who sewed outside the walls of Fort Edmonton, to the ongoing indigenous and immigrant commercial sewing work today. Alongside the reconceptualization of the history of local garment work and sewing, this presentation outlines the popular history of the “Canadian Tuxedo” as ironic and iconic Canadian dress. Canadian Tuxedoes are worn by men, and evoke the roughness of the Canadian frontier and the practical clothing necessary there. This conceptualization obscures both the local women who worked to sew the denim, and the colonial history that created the frontier.

Stephanie Koscak Wake Forest University, USA "Empire of Fashion: Reproducing London's Beau Monde in Eighteenth-century Charleston" Elizabeth Gunning (d. 1790) married into the Scottish peerage in 1752, becoming the Duchess of Hamilton. She and her sister Maria catapulted into the ranks of London’s fashionable elite largely because of their extraordinary beauty. As Hannah Greig recently argues, however, their stories proved the exception rather than the rule—beauty alone rarely resulted in an aristocratic marriage partner and the beau monde remained, across most of the eighteenth century, a self-consciously exclusive social group. Still, both sisters were widely celebrated in contemporary periodicals and artworks, and a mezzotint portrait of Elizabeth engraved by Richard Houston after a 1751 painting by Francis Cotes soon found its way to the Swiss portraitist Jeremiah Thëus’s studio in Charleston, South Carolina. The mezzotint served as a “prototype” for many of Thëus’s paintings of Colonial Carolina’s leading citizens, including his portrait of Elizabeth Allston Lynch, executed before 1755 (held at the Reynolda House Museum, Winston-Salem, North Carolina). Lynch is depicted in the same rigid pose as the Duchess of Hamilton, wearing the same lace- and fur-trimmed, scalloped-sleeved dress. This paper explores the reasons that Thëus used this mezzotint as a model for many of his portraits, paying particular attention to the question of why Charleston’s elite would have elected to represent themselves in identical dresses copied after London’s nobility. Not only would they have been aware of other near-duplicate portraits painted by Thëus and contemporary artists working in North America, they also would have known that the Duchess of Hamilton’s costume was already becoming outdated by the mid-1750s. Thus, I argue that fashionable metropolitan society was recreated in colonial settings through reproductive technologies like mezzotint and commercial artworks, which redefined (and disrupted) the social exclusivity, seasonal rhythms, and political meanings of the beau monde within the British Atlantic.

Vicki Kwon University of Alberta, Canada "Uniforms of the Women's Militia Performance in the 2009 National Day Parade: The New Ideal Women of China in the Transnational Flow of Pop Culture in East Asia" My paper examines the uniforms of a militia regiment of Beijing college women in the 2009 National Day Parade in China, as an influence of transnational circulation of fashion through popular culture and media in East Asian nations – China, Japan, Korea and Taiwan. The 2009 militia uniforms emphasized female body contours with a tight magenta jacket and , which revealed their pale legs that are half covered by white vinyl . Their goose-stepping marching performance attracted immediate media attention making some of them Internet celebrities. Such a display of women is unusual considering the tradition of Chinese female military uniforms: the androgynous tunic suit called the “Mao suit” established during the Cultural Revolution. To understand this sudden change of the women’s military uniforms, I will first analyze them from unexpected sources: female school uniforms in Japanese animation and manga, Korean and Taiwanese TV dramas, and K-Pop star stage performances, all of which have been widely circulated among Chinese viewers via Internet-based media. With such foreign influences as triggers, I will explore how the concept of the ideal military woman in China has shifted from “socialist androgyny” in Maoist China to the femme fatale soldier in the contemporary market economy and consumer culture, which have unleashed Chinese women’s desire to display their bodies seductively. In doing so, I will examine the use of soft power and gender in the reconstruction of images of military women in China by the Chinese government.

Dana Leibsohn Smith College, USA "Colonial/Cosmopolitan: Dressing Up in Spanish America" The cities of Spanish America-Manila to Lima, Quito to Havana-were known in the 17th and 18th centuries for their ethnic diversity, multi-lingual populations and sophisticated aspirations. Today, with the dramatic uptick in scholarship on "early modern globalization," these cities are often portrayed as shopping paradises, where conspicuous consumption was the norm not the exception. It is this view of Spanish American urbanity that I will explore and question, particularly with regard to indigenous residents. I will discuss the performative roles of indigenous clothing, asking how people in these cities "dressed up" in order to stress both their indigeneity and cosmopolitan aspirations. What choices about fancy clothing were available (and acceptable)? How were transgressive choices negotiated? I am also interested in the implications of present-day interpretive practice, and explanations of colonial realities that stress either desires for pleasure or repressive violence and poverty, but rarely, fairly, account for both.

Beverly Lemire University of Alberta, Canada "Contact, Connection, Translation: Women, Stitching & Making the Global, c. 1600s-1800s" A defining feature of the early global era was the flow of objects rich in cultural resonance; these became primers for needleworkers worldwide. Asian goods (ceramics and textiles), added to local and international compendia of knowledge and idioms of design. The movement of people as well as cargoes intensified these changes. Close object study reveals these complex histories. I focus on embroidery and embroiderers for the malleability and visuality of this art, the mobility of this technology and adaptability of practitioners. Asian women and men are my initial focus (1500s-1800s), along with northern and northeastern Native American needleworkers (1700s-1800s). Material translation accompanied the diffusion of patterned Asian wares and the advance of botanic imagery. Within the disruptive matrix of colonial expansion and growing capitalism, Indigenous peoples likewise contributed to the material vibrancy of this era, making embellished goods for local and metropolitan markets. Ruth Phillips observes that by the mid 1800s, “The adoption of floral iconography in northeastern Aboriginal art was one of the most rapid and dramatic changes in the history of Native North American art.” I set this “dialogic change” within a global history where generations of needlewomen, of many ethnicities, reshaped material cultures. Importantly, the embroideries of Native Americans, like those elsewhere, found space to speak within globalizing markets.

Caroline Lieffers Yale University, USA "Yankee Legs and White Man's Medicine: Artificial Limbs for Global Bodies" This presentation uses three case studies to argue that artificial limb technologies worked as both tools and emblems of American expansion from about 1850 to 1920. Rather than representing an American problem, artificial limbs represented a desirable American solution, re-framing disability as an invitation to participate in the country’s burgeoning technological and consumer culture. They also rendered bodies and landscapes analogous, subject to the “fixing” imperatives of expansionist science and medicine. The first case study examines artificial limb manufacturer B. Frank Palmer, whose “Patent Leg” won a coveted silver medal at London’s Great Exhibition in 1851. The Exhibition opened poorly for the Americans, but technologies that would soon be central to the country’s westward expansion—including McCormick’s reaper, Colt’s revolver, and Palmer’s leg—vindicated the nation’s “industrial honor” on an international consumer stage. Next, I consider the role of artificial limbs in American indigenous assimilation, and I conclude with an examination of prostheses provided to injured workers during the Panama Canal project, drawing attention to the boundary between deserving citizens and expendable non-citizens. Liberal ideals of ability, independence, and labour were written onto land and body, but these ideals also failed those who could not meet the stringent demands of American technological and consumer culture. Abby Lillethun Montclair State University, USA "The Javanese Kebay: The Tracery of Multiple Flows" Indonesia, and notably the island Java, have long been an historical trade and migration nexus. The archipelago’s dress history attests to cross- cultural practices and patterns. The kebaya, a cut-and-sewn jacket worn by Indonesian women even today, provides a site rich in cross-cultural design practices in relation to the gendered body. Javanese women already wore the kebaya, with a wrapped lower body garment, when European contact occurred in 1512. All other local garments used uncut lengths of cloth wrapped, draped, or tied on the body. Scholars surmise that centuries prior to the arrival of the Portuguese and Dutch (1596), Arab or Central Asian traders, served as conduit/s for the adoption of the coat in the region. Java’s history—of trade and migration, as well as Dutch and British colonization through the late nineteenth century—includes well- studied complex social patterns of power and ethnicity. This presentation examines the kebaya as a prominent marker of gendered cross-cultural dress practice. In the kebaya ensemble a Javanese woman’s body is dressed globally, resonant with traces from Central and/or Southwestern Asia (in form) and other trade flows (in embellishments and details), as well as local multi-ethnic identities. The research interprets historical accounts and images.

Jane Malcolm-Davies University of Copenhagen, Denmark "Men, Materials and Making: Knitting in the Early Modern European Market" New scientific evidence of trade in raw materials and finished goods for the knitted textile trade is emerging from a study of more than 100 knitted from the 16th century. These long-overlooked archaeological data are being re-excavated from museum collections in far-flung locations across Europe – as far north as Norway and as far south as Croatia. They show remarkable similarities in the materials used and methods of construction employed. A preliminary study recorded rudimentary measurements and identified some key patterns in the data, including a typology of early modern men’s knitted caps. Initial results from more recent biomolecular investigative techniques, including strontium isotope analysis, which compares soil samples with archaeological material, indicate the land from which the knitted yarn was sourced. Contemporary evidence from documentary data suggests labour for knitting the caps was organised in proto-industrial settings. Import/export accounts at northern European ports demonstrate how far knitted caps travelled from their places of production to potential purchasers. The knitted caps represent an astonishing body of evidence for trade in ordinary men’s clothing given the paucity of extant garments available from the era and they demonstrate the swift expansion of knitting as a key technological innovation of the 16th century.

Jane Malthus Otago Museum, New Zealand "Dressing Settlers in New Zealand: Global Inter-connections" Colonial settlers to Aotearoa New Zealand in the nineteenth century brought their ingrained customs, fashions and etiquette patterns about dress with them, They seemed, from evidence in the material record, to be unwilling to alter their ideas about appearances, except where it increased their chances of being thought middle class. Propriety, respectability and conformity to ideals from ‘home’ were powerful agendas, especially for women. However, keeping up appearances for women and men was dependent on the supply of materials, information, equipment, tailors and dressmakers, as well as the development of industries and commerce in the New Zealand colony. Global shipping patterns and trade affected the supply of goods and information for people in the various settlements of Aotearoa New Zealand. The ‘webs of empire’ affected them. This paper explores how some of these webs, especially patterns of shipping and trade, changes in local and international (especially British) economies, flows of materials and technology, and development of businesses in textiles and dress within the New Zealand colony affected women and men’s experiences of and ideas about appearances, and their wardrobes.

Catherine Mas Yale University, USA "The Reform Dress as Technology in Nineteenth-century America" In the 1850s, a group of American women developed what they called the Reform Dress. It consisted of loose waist, short and lightweight , and pants. It presented a stark contrast to the tightly laced bodices and heavy, trailing skirts in fashion, which had destructive and disabling effects on women who wore them. They defined the reform dress in opposition to dominantrench F fashions, calling it the “American Costume.” They also called it “physiological dress,” with the idea that health, science, and the values of human perfectibility should guide clothing practices, not customs inherited from the Old World. This paper uses the reform dress as a lens to investigate the relationship between science, women’s health, and feminism in nineteenth-century America, a time when religious revivalism and scientific enthusiasm combined and enabled reformers to create artifacts that both physically altered the body and identified a modern, democratic nation composed of healthy, industrious, and virtuous citizens. I approach the reform dress as a technology, drawing from both the historical actors who saw it as such and from feminist technology studies scholars who call for further research on technologies used and created by women. The human sciences that dress reformers mobilized were anatomy, physiology, and anthropology, and they used forums such as periodicals and conventions to modify their innovation with the goal of nationwide adoption. I argue that the reform dress encompassed a profound element of American reform in the early national and early industrial period—that which saw both danger and promise in the relationship between humans and technology. Clothing, they believed, was at the boundaries of human nature. In the words of one dress reformer, “He who clothed the birds and the beavers with feathers and fur, left mankind to complete His creative work in regard to themselves.” Thus, understanding the difference between nature and technology as the difference between God’s creation and human creation made clothing a technology with cosmological significance.

Tara Mayer University of British Columbia, Canada "Power Dressing: Indian Elites and the Politics of Fashion in British India" Clothing was central to emerging ideas of Indian nationalism during the early twentieth century, exemplified for instance by Gandhi’s khadi movement. The rejection of European clothing by Indian nationalists highlighted the damaging effects of colonial trade on indigenous textile industries, but also distinguished nationalists from earlier Indian elites who had eagerly and voluntarily adopted elements of European clothing and material culture. Throughout the nineteenth century, some members of the Indian elite had sought to align themselves aesthetically with European fashions for their associations with modernity, authority, prestige, and reform. Despite the official rhetoric of “improvement” and efforts to create a class of cultural go-betweens, many British officials regarded this sartorial mimicry with distaste and disapproval. The fact that elite Indians began to exercise sartorial choices outside of direct British control—not liveried, not uniformed, and not conforming to orientalist stereotypes—was seen as a danger to the colonial order. This perceived threat of Indian cultural cross-dressers, whose relative wealth and social status elevated them above British sartorial mandates, served as an impetus for the growing rigidity of European dress codes in India, and reveals a new dimension to the politics of racial identity in late colonial India.

Mary Jo Maynes University of Minnesota, USA See co-authored paper under Emily C. Bruce

Fiona P. McDonald Indian University, Perdue University at Indianapolis, USA "Tlingit Button Robes: Materials that Move and Make Meaning" Our material world is made up of the “gathering of materials in movement” (Ingold 2013: 439). A woollen blanket is one such material enmeshed in a global web of action and significations (Gell 1998) where its movement and circulation has often been dependent upon its aesthetic transformation into something different. A product of industrial manufacture, a woollen blanket exists first and foremost as a woven woollen textile. In the context of this paper I will present current research on the historical and contemporary transformation of woollen blankets and adoption of new materials into button robes and regalia in Tlingit communities in Southeast Alaska. The use of button robes at a ku.éex’ (memorial ceremony) and secular ancing contexts serves multiple functions. Therefore, this presentation draws together the materiality of both body and textiles with a specific focus on how the perform-ability and materiality of things are integral to identity, community, and the vitality of traditions. Steven McNeil Queen's University, Canada "Dressing the Part: Gender, Politics and the Gown Commissioned for Jeanne Sauvé's Investiture as Governor General of Canada" This paper considers the ceremonial gown commissioned by the Rt. Hon. Jeanne Sauvé (1922-1993) for her investiture as Governor General of Canada. I examine the gown as an object with symbolic meaning, focusing on the processes by which it was designed, the historical precedents that informed its design, as well as the context in which it was worn and subjected to public scrutiny. The gown was commissioned from a Montreal dressmaker, through a complex process of collaboration between patron and designer, and made from fabric Sauvé sourced and purchased personally in France. It is now part of the Costume Collection at the Royal Ontario Museum. Jeanne Sauvé’s investiture ceremony was a televised and widely publicized event at which her gown was the subject of critical scrutiny. I argue the gown was carefully planned by Sauvé as way of fashioning an identity for herself as Governor General, and of adapting the role of the Governor General to the twenty-first century. In discussing the gown and Sauvé’s mandate as Canada’s first female Governor General, I will pay particular attention to questions of gender and place Sauvé and the gown into a globalized context.

Lianne McTavish University of Alberta, Canada "The Tapeworm as Textile in Early Modern Europe" Intestinal worms were a familiar part of many early modern bodies. People described the presence of tapeworms vividly, reporting that they heard noises emanating from their bellies, felt sudden intestinal pain, and finally pulled the writhing forms from their anuses. These narrators also portrayed the worms as belts, stays, ribbons, strings, and threads. My talk analyzes this material, focusing on the visual and written representation of tapeworms as textiles in selected medical publications (some 56 treatises were devoted to intestinal worms during the seventeenth and eighteenth centuries in Europe). I consider how and why tapeworms were conflated with textiles, noting that the worms could become indistinguishable from the body by molding to the human form like clothing. The worms likewise fashioned the body, producing sensations of tightening, itching, or tickling. By exploring the close association between tapeworms and cloth, I offer an expansive vision of the early modern body, one with shifting boundaries, while contributing to recent scholarship on the meaningful relationship between textiles and corporeality.

Ami Mehta Courtauld Institute of Art, UK "Revisiting The Album of Persian Costumes and Animals with Some Drawings by Kaempfer (c. 1684-5): 'Spaces Speak' and 'Clothes Communicate' in Late-Seventeenth Century Isfahan" The Album of Persian Costumes and Animals with Some Drawings by Kaempfer illustrates a pastiche of types in foreign costume; Persians, Georgians, Armenians, Zoroastrians, Turks, Iraqis, Bukharans and Indians are interspersed among animals and scenes of amusement from late- seventeenth century Isfahan. Such extraordinary types converged in the Maydan-e Naqsh-e Jahan, the Image of the World Square and the centre of political, social and commercial life in the Safavids’ capital city. The essay explores the Kaempfer Album, drawings and illustrated engravings to highlight the temporal and spatial exchange and encounter between the gaze of the local artist, Jani Farangi Saz, and the curiosity of the farang (European) patron, Engelbert Kaempfer. By combining art historical, anthropological and semiotic approaches—‘spaces speak’ and ‘clothes communicate’—the essay frames the mutual fascination with costume, self-fashioning, performance and observation by Kaempfer and Jani as a central theme in the Kaempfer Album. The essay asserts that costume and self-fashioning, both spurred by political and commercial undercurrents in diplomacy and trade, represent Early Modern signs of a cosmopolitan population self-consciously navigating urban spaces such as the Maydan. Ultimately, the essay suggests spectacle and spectatorship as alternate motives for the commissioning and content of the Kaempfer Album.

Julie-Ann Mercer University of Alberta, Canada "Peter Rindisbacher and the Views in Hudson's Bay: Representations of Red River Metis Dress" Within the hand-tinted pages of the Views in Hudson’s Bay (1825) print portfolio is a lithograph depicting a curious representation of Red River Metis winter dress. The print, A Gentleman Travelling in a Dog Cariole in Hudson’s Bay with an Indian Guide, portrays a Metis guide with a and a finely tailored, blue winter coat. The lithograph is based on the nineteenth-century artist Peter Rindisbacher’s watercolour, A Dog Cariole only used in winter by Canadian Indians (1825), which depicts a similar winter scene at the Red River Colony. Unlike the lithograph that emphasizes European style clothing, Rindisbacher references Indigenous designs in the watercolour by dressing the Metis guide with a pointed hood decorated with blue and white ribbons and a loose fitting, blue winter . This change from Indigenous to European style clothing reflects the images’ sites of production: the watercolour was produced in the Red River Colony where Rindisbacher saw Indigenous designs first- hand; the lithograph was produced in England where European designs were prevalent. By analyzing the differences in representations of Metis material culture between the watercolour and the lithograph, this paper will consider how the images construct a site-specific archetype of iconic Metis dress.

Alexandra Kahsenni:io Nahwegahbow Carleton University, Canada "Cradleboards as Dress: Survivance and Sacred Powers for Mother and Baby" As vessels, cradleboards carried, held and protected new life. Skillfully made and ornamented with care, they were objects that were highly valued for their ability to communicate safety and a sense of belonging to infants. Early cradles were decorated with protective quilled designs that echoed the geometric motifs that could also be found on containers that held medicines. Indeed, the cradleboard, as a vessel that dressed and safeguarded cherished persons, also acted as a kind of medicine bundle. Although the ornamentation of baby carriers appeared to transform over a period of time into more “European-influenced” floral depictions made of glass beads and fine trade fabrics, these designs forged new translations of traditional forms and continued to embody distinctly Indigenous values surrounding the sacred nature of new life and familial ties. For many white settlers, the image of an Indigenous woman carrying her baby in a floral beaded cradleboard was seen as sweet and picturesque subject matter. For the Indigenous mother however, given the damaging assimilationist policies that sought to entirely sever familial bonds in devastating ways throughout much of the late-nineteenth and early-twentieth centuries, the simple act of carrying her baby “in full Indian dress” can be seen as a quiet, yet powerful act of resistance.

Alexandra Palmer Royal Ontario Museum, Canada "Tweed, Ontario to Paris, France: Cultural Transformations of Fashions in the 20th Century" The cross-cultural transference of costume will be discussed through garments that have been transformed in the twentieth century. Examples range from the modern reuse of Chinese embroidered garments, the paisley shawl, the Near Eastern aba, a Burmese or a wrapper from Sierra Leone that were worn by middle and upper class clients in rural Ontario towns, and international fashion capitals. Discussed will be designs by anonymous dressmakers and couturier Paul Poiret who repeatedly used and reused historical and exotic fashions. Examined will be the practical and cultural success of making new modern fashions in the western hemisphere out of old fashions from the eastern hemisphere. By evaluating and contextualizing extant examples with archival sources, this research offers a new view of the actual workings of the fashion system and a solution to the problem of seasonal styles and fashions mandate for constant novelty and change.

Anthony Parent, Jr. Wake Forest University, USA "Dressed for Flight: Indented, Convicted, and Enslaved Runaways in Virginia, 1740-1775" The detail of a stitched handkerchief, ca. 1770-1785, titled Transportation, depicts three laborers in a Virginia tobacco field, a woman and two men. We know the woman is enslaved because white women, either indentured or convicted, by statute were not permitted to work in the fields. A European man, clearly in distress, holds his hoe askew; an African looks askance at him. Linda Baumgarten, our best authority on colonial clothing, has used this Transportation detail to demonstrate parity in privation. A closer look at the illustration reveals the white man, most likely a convicted servant, is barefoot and dressed in a loose fitting shirt and trousers; his better dressed black companion wears , a , and shoes. Fugitives took their best clothing, their most tangible personal effects, detailed minutely in runaway advertisements as a means of identification, offering a common denominator for comparing the working classes. Thearious v Virginia gazettes from 1740 to 1775 contain advertisements for about 2,000 runaways. In this paper I will analyze their clothing as a record of their belongings, allowing not only a comparison of the gendered, racial, and ethnic material differences between saltwater captives and enslaved creoles, but also between indented, apprenticed, and convicted servants.

Sharon Peoples Australian National University, Australia "Globalization and the Suit: Migrants and Migration" This paper argues that the suit is a very successful tool for the assimilation of migrants. This paper concentrates on the Australian experience of the first phases of modern migration for Chinese, the 1850s gold rush. While the genetic markers of Chineseness, could not be changed, dress and, in particular, the suit facilitated not only the mobility of the Chinese, but also their ‘evaporation’ from Australian history. The suit was, and still is, an international passport for male migrants: the peasant becoming a modern man. There were less than 3,000 Chinese in Australia prior to gold discoveries in the 1850s. Initially, as the Chinese men passed through towns along the way to the goldfields, their unusual appearances, their pigtails, their straw hats, their pole-carrying, were ‘seen as interesting and picturesque’ (Curthoys 2001: 106). As a British settler nation, the trickle turned to a flood with a growing concern for the high number of Chinese immigrants. However, by the 1860s there were anti-Chinese riots on the gold fields. Descendants of the Chinese miners still exist in rural Australia. Historic photographs, particularly the genre ‘the last Chinaman’, show Chinese men dressed in going about their business as successful people.

Sheilagh Quaile Queen's University, Canada "Imaged Materiality: Two Kashmiri Shawls in Paintings by William Holman Hunt" Woven shawls from the Kashmir region of the Indian subcontinent became a popular fashion in Europe during the latter half of the eighteenth century and throughout the nineteenth, where they were sold and purchased and also imitated by European textile manufacturers. As a result of their fashionability, Kashmiri shawls and their imitations made frequent appearances within contemporary European paintings. Using a material culture-based analysis, my presentation will consider two paintings to interpret nuanced cultural and social information attached to the shawl during the final stages of its popularity as dress in Britain. These paintings are The Awakening Conscience (1853-1854) and The Children's Holiday (1864-1865) by Pre-Raphaelite artist William Holman Hunt, which have previously been compared by Caroline Arscott for their representations of two different Victorian female archetypes—the harlot and the ideal wife. My presentation will build on Arscott’s assessment by demonstrating that each shawl’s materiality—including its colour, cut, fabric, and surface patterns—contributes to the reading of each woman’s social status and moral character in Victorian ideology. This in turn reflects Victorian conceptions of the exotic East, as is corroborated by contemporary aesthetic criticism and by information on the shawls’ domestic and international production and consumption.

Sherry Farrell Racette University of Manitoba, Canada "Ballgowns, Moccasins and Pad Saddles: Métis Dress as Spectacle and Performance" Métis weddings, dances and buffalo hunts were visual spectacles and celebratory spaces. Hundreds of men and horses, adorned with ribbons and beadwork formed a single line before charging into the hunt. Weddings were three-day celebrations, dances welcomed visitors, celebrated safe returns and marriages were negotiated to the tune of the fiddle. These were social, economic and political spaces, turned into dazzling visual displays as Métis people combined fine silk, wool, buckskin and beads to assert their unique presence and claim territory.

Amalia Ramirez Garayzar Universidad Intercultural Indígena de Michoacán, Mexico "Rebozos, Pañones, and Parrajes: Women's Clothing in Colonial Latin America and the Manila Galleon" In Latin America, there remain clothing practices that were originated in the Spanish colonial period (sixteenth to the nineteenth centuries). Some garments-such as shawls worn by women of all social strata in the colonial segmented society-known locally as rebozos in Mexico, perrajes in Guatemala and pañones in Ecuador and Peru, have morphological features and similar textile techniques. We propose that they correspond to a link with the colonial mercantile system known as the Manila Galleon, which connected Asia and America for 250 years. In this paper we explore some possible ways to explain that link, in a different direction to a number of studies relating only two cultural matrices of Latin American female costume: European and Native American. We propose that there was a third textile tradition we should consider, Asian, which is noticeable in the garments that we are referring to here. This is important in such a way that in countries like Mexico have a symbolic meaning to the extent that the rebozo is considered the "national cloth".

Vivienne Richmond Goldsmiths University of London, UK "The Colonial Stitch: Needlework Instruction in Britain and Canada (via Madras)" The Royal Ontario Museum contains an 1831 handwritten book: Instructions on Needle-work and Knitting & Marking as derived from the practice of The Inhabitants of Puslinch House Near Yealmpton Devonshire, the mansion home of the Yonge family. This philanthropic manual contains small-scale examples of simple garments for the poor, as well as instructions on teaching their construction following a regulatory educational method based on the ‘principles of [Dr Bell’s] Madras system’ in imitation of the Central School, London. The book was made by Alethea Yonge, ‘For [her sister-in-law] Jane Yonge – Government House – Toronto Canada’, where Jane lived with her sister, the wife of the Lieutenant Governor of Upper Canada. Alethea evidently intended Jane to continue, in Canada, the philanthropic work performed by her female relatives in Devon. A later note in the book, written by Jane, reads ‘To be given to Mary Yonge Puslinch – April 18th 1877 – when I have done with it’, thus returning the volume to its place of creation. Utilising a system devised by a Scot for a boys’ orphanage in Madras, implemented in London and Devon, transmitted to Canada then back to Devon, this remarkable book offers a unique insight into the colonial circulation of British ideas about the education, gender roles and appropriate dress of the lower orders.

Giorgio Riello University of Warwick, UK "Wardrobes of Curiosity: Costume Books and the Sixteenth-century Shaping of Global Geographies" Richard Hakluyt in his Navigations (1580) advised would-be-explorers to carry with them in their mission to Asia via the Northeastern Passage two types of books. Together with “new Herballs”, they were told that “the book of the attire of all nations” could be used “to astonish the natives”. In all likelihood Hakluyt referred to the costume book that Hans Weigel had published in Germany just a few years earlier in 1577. Over the course of the second half of the sixteenth century, the book of costume emerged as a new type of publication mapping visually and sartorially the expanding world of the renaissance. The best-known among such costume books are the two editions of Vecellio’s Habiti antichi et Moderni (1590; 1598) though by the close of the sixteenth century Vecellio could draw on several similar books such as Nicolas de Nicolay’s Le Quatre premiers livres des navigations (1568) and Boissard’s Habitus variorum orbis gentium (1581). This paper asks why costume played such an important part in the sixteenth-century understanding of global geographies. Costumes were used to construct a space that was hierarchical and relational to that of Europe. They were configured as a journey that started in one of the major European cities - Venice, Antwerp, Augsburg, Paris or Lyons – and extended to other world areas and empires. From the early sixteenth-century costume albums to Vecellio and the later costume books, one can see an expansion of the geographies covered to include, for instance, the America). Yet costume books do not just map global horizons. They are also meticulous in characterizing local peculiarities and at drawing on difference. This paper considers a number of costume books and addresses the ways in which they served as tools of cultural understanding and the geographic re-charting of the world in the renaissance.

Rosalind Rothwell Georgetown University, USA "From Imperial Dress to Yankee Fashion: India Calico and the Chesapeaske, 1721-1793" Through examining a range of sources—including estate inventories, runaway advertisements, and Martha Washington’s textile belongings—this paper discusses how Chesapeake residents, Britain’s most fashionable American colonists, used chintz and calico garments, from the Calico Act of 1721 through the founding of the United States. Although significant works on the global reaches of calico have been published, studies centered on Anglo-America are few. The Chesapeake is a critical area of study within this region because, although it lacked cities as large as Philadelphia, its colonists were reportedly highly fashion-conscious. Moreover, the region’s legacy of slavery has left significant sources regarding African American culture, enabling a broader cultural analysis. In this paper, I argue that South Asian calico and chintz held different meanings for different classes and genders in the Chesapeake. It remained fashionable among wealthy republican women during non-importation movements, brightened enslaved women’s wardrobes, or served as currency for runaways. Yet, in the form of men’s banyans, calico held no discernable connection to a specific social standing or profession (e.g., that of wealthy merchants), and fell out of popularity by the 1760s. Overall, this paper broadens our understanding of the global significance of calico and chintz in the eighteenth century.

Eric S. Roubinek University of North Carolina Ashville, USA Please see co-authored paper under Emily C. Bruce

MacKenzie Moon Ryan Rollins College, USA "Designed by resident Indian traders, consumed by East African women: Japanese Dominance in Imported Kanga Cloth Production, 1950-1981" For over a century and a quarter, kanga cloth has served as an accessible yet fashionable clothing choice for the majority of East African women. Kanga cloth is industrially produced and inexpensive, consisting of factory-woven cloth and synthetic dyes printed in bold designs including a border and Swahili phrase. Kanga cloth initially derived from a network of European manufacturers and distributors, resident Indian sellers, and East African women consumers in the late nineteenth century. By the mid-twentieth century, the balance shifted to Japanese manufacturers, which reigned supreme from 1950 to 1981. During this time, Japanese manufacturers hired resident Indian sellers, designers, and representatives to canvas East African women’s tastes and create new kanga designs. This paper examines the life’s work of Mr. K. G. Peera (b. 1911/12 – d. 2011), a kanga designer and seller in Zanzibar (1928-64) and Dar es Salaam, Tanzania (1964-2011). Peera worked with the Japanese merchant- converter C. Itoh & Co., and the Japanese textile printer, H. Nishizawa Shoten Litd. (Nishizawa). Using extant textile designs, personal interviews, photographs, and import records, this paper frames the late twentieth-century dominance of Japanese manufacture of imported kanga cloth through the labors of those who made it possible—resident Indian textile designers and sellers.

Ania Sadkowska Nottingham Trent University, UK See co-authored paper under Katherine Townsend

Ann Salmonson University of Alberta, Canada "Recycling the Emperor: From the Grand Sacrifice to Paris Fashion Week" The imperial, Chinese dragon is a magnificent emblem of splendor and power. When worn by the Qianlong Emperor during the Grand sacrifice, it was an integral part of a complex interaction of ritual performance that signified the emperor’s power and strengthened his legitimacy as ruler of China (from 1736 to 1796). Laurence Xu channels this imperial authority when he fastidiously incorporates the cosmology of the Qing-dynasty dragon into a gown shown as part of his collection for 2014 Paris, , Fashion Week. Xu’s robe expresses the tension of embedding emblems identified with China’s imperial history into a contemporary haute couture gown. In this paper, I examine the enactment of Xu’s dress for Paris Fashion Week as a symbolic search for the imperial body. The sovereign body has a cyclical nature based on the dynamics of exhibition, participation, and production. These exchanges are played out through sumptuous rituals that identify the power of those on display. An audience skilled in recognizing and advocating for the performed splendor is as necessary to the empire as the physical process of creating exquisite, identifiable symbols. I parse how Fashion Week and the Grand Sacrifice both function with the long-term objective of influencing the greater population to respect and honour the symbolic power on display.

Awo Abena Amoa Sarpong University of Cape Coast, Ghana Please see co-authored paper under De-Valera Nana Yaw Mpere Botchway

Gabi Julia Schopf University of Bern, Switzerland

"Local Distribution of Global Textiles: East Indian Silks and Printed Cottons in the Basel Newspapers" In 1742, the following advertisement appeared in a Basel newspaper: a piece of excellent white and red East Indian damask with flowers, to be seen at the news office. This ad was no exception as East Asian silks, printed cottons and a variety of other fabrics were commonly advertised. Although situated far away from sea ports and lacking colonial holdings, Swiss cities were integrated into global exchanges of textiles. But trade networks only explain how goods came to a place, and thus this paper focuses on how global textiles reached customers in a local setting. In Basel, as in other cities, informal trade was vital in linking trade networks and local customers. Beyond well researched sites like shops and fairs newspaper offices and printing houses were a pivotal actor in these exchanges. Probing the advertisements and moving past just their content, this paper will show that news houses were catalysts for the local exchange of textiles. Not only did they publish advertisements of prospective buyers and sellers, they were also a site where textiles could be inspected and exchanged. Through looking at news houses, this paper will shed light on a novel place of informal trade, one that was crucial to the rise of a global consumer culture.

Oren Segal Tomas Beta University, Czech Republic "Hidden Trends in Post-socialist Slovak Fashion: Re-visiting James Scott's Work on Hidden Transcripts" In this paper, I explore the strategies used by fashion designers in post-socialist Slovakia by revisiting James C. Scott's (1992) work on hidden transcripts. Scott concentrates on specific ways in which subordinate groups resist domination, such as during the socialist era when masked, nonverbal actions took place in the public view. Scott’s work was criticized for his assumptions regarding the universality of communication and power. However, I argue that some critics took his theory too literally. Based on twelve months of ethnographic field research, I apply Scott’s insights to present-day Slovakia, where the near socialist past functions as an obstacle to the development of a post-socialist Slovak fashion industry. I show that his hidden transcripts mechanism, when taken metaphorically, is especially useful in the context of fashion, because non- verbal, symbolic interaction is a key component of the relationship between fashion designers and the public. I investigate the various ways post- socialist Slovak fashion designers produce and display fashion and interact with consumers. I suggest the term “hidden trends” to portray how post-socialist Slovak fashion designers consciously adopt certain elements from the socialist past, embedding these codes and messages in their work within the post-socialist context for their own purposes.

Dalbir S. Sehmby University of Alberta, Canada "The Punjabi Sikh Bana: Manifesting Identity through Fashion" In pre-colonial India, the rise of the Sikh dress (or bana) helped transform local identities by manifesting philosophy through fashion, speaking to and against the function of clothing as a divisive marker between castes and class. By drawing a parallel between Sikh architecture (Harmindar Sahib) and Sikh bana, one may notice the way both Sikh architecture and clothing speak in a reflexive way about cultural markers of identity. To a degree, the Punjabi Sikh female (with pants instead of sari) transgresses the traditional patriarchal positioning of womanhood. Similarly, the Punjabi Sikh male (with unshorn head hair) both embodies traditional Indian spiritual identity while also transgressing developing norms about gender identity and hair. With the arrival of the British, the turbaned Sikh male with facial hair becomes a marker of untamed masculinity and the exotic Oriental.

Andrea Severson University of Texas El Paso, USA "Who Wears the Pants: A Comparative Study of American Public Reaction to Bloomers and Rationals" Historians have written much about the public outcry against the Bloomer in the 1860s, but less well known are similar garments, worn from the 1890s and 1910s, called Rationals. These bifurcated garments became increasingly popular with new approaches to physical fitness, and especially as women increasingly took up bicycling. Bloomers received much more attention at the time, and have since from historians, because the women who wore them did so in an explicitly political way, particularly Amelia Bloomer who regularly wrote about them in her journal the Lily. Women’s defenses of their decision to wear Rationals, by contrast, related almost entirely to health issues. In fact, they were careful to distance themselves from any notion that their clothing made a political statement. This paper examines the different receptions of Bloomers and Rationals in the United States, concerning their appearance, their functions, and their implications for women in gender terms. While both garments faced criticism, they did so for very different reasons. In the 1860s the critics believed that wearing pants gave women undue power, but from the 1890s to the 1910s arguments appeared concerning the “delicate” nature of women and femininity. Nonetheless, Bloomers and Rationals each gave women a sense of freedom from their political and social confines.

Lillian Omolara Shoroye University of Ibadan, Nigeria "The Victorian Woman in Calabar, Southern Nigeria" The three-fold mission of British imperialism: Christianity, Commerce and Civilization found a productive operational ground in Calabar, a coastal town in Southern Nigeria. For centuries, Calabar served as a commercial centre for the trade in slaves and later Palm Oil. In 1846, the first missionary station was established in Calabar at the request of the natives for “book people”. This paper considers the agency Christian missionaries in colonialism. It also examines how the imposition of British manners and dressing was contributory in the replacement of the traditional Efik attires, for the Victorian gown for ceremonial occasions. Today, the floor-length Victorian gown which is popularly called ‘Oyonyon’ is the traditional dress of Efik women and has become a definitive feature of their rich cultural heritage.

Rachel Silberstein Rhode Island School of Design, USA "Fashionin the Foreign: British Woollens in Nineteenth-century Chinese Dress" This paper challenges the notion of Chinese distinterest in foreign materialties through an investigation into the impact of woollen fabrics on late Qing (1644-1911) dress culture. Using British and Chinese trade records, it demonstrates the importance of the China market to nineteenth-­‐ century British textile exporters, in particular Norwich camlet producers, and examines the strategies they utilised to market the novel textures of their fabrics to Qing society. By surveying the sites and mechanisms of Chinese consumption, and the social groups who determined their monetary and cultural value, I explore the variety of ways in which late Qing consumers engaged in a fashioning of foreign textiles, and the multiplicity of significations these objects enabled. The fate of foreign woollens in late Qing dress allows us to understand how Chinese men and women were being intricated within global networks, not only as producers and sellers but also as consumers. Thus, it both challenges established accounts of early modern fashion systems in which only the dynamic West was sufficiently civilized to find the foreign a source of attraction, and further offers a counter-­‐narrative of adaption and assimilation in the process by which a culture makes a radically new textile its own.

Ashley Sims University of Alberta, Canada "'Tuo or threi peicis of the best stuff': An Edinburgh Merchant in an Age of Global Exchange, 1630-1650" This paper examines the role played by a seventeenth-century Scottish merchant, John Clerk, in dressing the bodies of Edinburgh’s social and political elite with commodities imported from the continent and nations that formed part of an expanding English (later British) Empire. Clerk’s mercantile activities provide a glimpse into an intricate network of trade and patronage spanning the globe. By uncovering the trade conducted by Clerk and the goods consumed in Edinburgh by his customers, Edinburgh can be situated within wider global trade networks. Scotland’s mercantile activities in the seventeenth century stand out on account of their scope and their development and expansion overseas. Set within the broader context of a large and rapid increase in the consumption of goods that took place across northwest Europe, the British Isles and in colonial America between 1600 and 1750, Scotland’s material culture was shaped by the increased desire Scots shared with most Britons and other Europeans to acquire clothing, accessories and household objects. Thus, while Clerk’s mercantile interests and experiences illustrate the nature of Scottish overseas trade in the seventeenth century, they also shed light on contemporary Scots participated in the complex world of consumerism.

Juliana Sissons Nottingham Trent University, UK See co-authored paper under Katherine Townsend

Catherine Smith University of Otago, New Zealand "What is Traditional? How Study of Pre-European Māori Textiles Reveals Culture" The detailed study of a corpus of pre-contact Māori textiles provided unexpected evidence of diversity and innovation. A number of structures were present (wovens; plain, twills with different orientations and patterns; twining; knotting; braiding; folded yarns) as well as selvages (braids; twined; various forms of re-insertion into the body of textile). Despite the inherent difficulty of survival, textiles were clearly not only valued for utilitarian reasons, but also for social and aesthetic agenda: intricate surface patterning, the use of dying technology, and the existence of surface treatments and high status materials were clearly not functional adaptations. The complexity and technological proficiency present in the earliest known Māori textiles provides compelling evidence of advanced adaptation to the ecology of New Zealand, the importance of plants in pre-contact lifeways, and reveals those often ‘forgotten’ in accounts of prehistory; women, children and the elderly. Additionally, divergence from what are now considered ‘customary’ Māori textile forms could be discerned. These textiles were an apt reminder of the importance of the interdisciplinary study of artefacts for rich illustration of the diverse possibilities of cultural response. Moreover, all these factors testified to the creative agency of makers in textile production.

Yuxian Song University of Alberta, Canada "Gender and Openess in the Late Ming Imperial Court in Beijing: Imperial Women's Creative and Exotic Dressing" My paper presents some evidence of the material culture of imperial women in the late Ming court, a perspective not seen in the official records. Material evidence illuminates a fuller picture of imperial woman’s life. Through comparing Empress Dowager Li's (1545-1614) over-vest with the Wanli emperor’s (r. 1573-1620) imperial robe, I demonstrate the Ming court’s presentation of gender on ceremony robes. The varied cultural patterns on the gowns give hint of the orthodox and popular culture of the palace. In particular, Empress Dowager Li’s over-vest shows the wearer’s creativity and personal taste. I examine also imperial women’s influence on, and personal preference for, exotic material and design, as seen in the Southeast Asian ornaments on their buttons, , and crowns. As such, the dressing of imperial women shows the openness of the inner court in sixteenth and seventeenth century Ming China.

Elizabeth Spencer University of York, UK "'Five of my Best silk gowns [and] four of my best second aprons': Bequeathing Women's Clothing in 18th-century England" Women in eighteenth-century England frequently left bequests of clothing to female family members, friends, and acquaintances. In some instances, these bequests were accompanied by detailed descriptions; the spinster Ruth Tennyson, for example, bequeathed ‘a red Lutestring Night Gown…[and] my best black petticoat’ to her sister in 1763. Some scholars have interpreted this type of bequest as evidence of emotional attachments between women, reading sentiment into the act of description. While clothing could certainly carry with it emotional and familial significance, this paper will argue that we should nevertheless be wary of reading bequests as confirmation of this. It will do so by comparing the descriptions of clothing found in women’s wills with those found in contemporary newspaper advertisements for lost and stolen goods. Although the descriptions found in both often appear to be very similar, the two have rarely been considered together. Both sources can tell us about circulation of clothing in this period, but looking at the two alongside one another can also reveal insight into the description of clothing by women as they share a ‘common landscape of things’ (Sundberg-Wall), and make use of a common language. The language used by women to describe possessions in their wills did not exist in isolation, but was influenced by – and perhaps influenced – the many descriptions of clothing circulating in print, and we should therefore be cautious of reading sentiment into bequests. However, I will conclude by arguing that what these bequests do show us is that some women described their clothing according to categories which do not appear in the newspaper adverts; for example, women categorised clothing as ‘best,’ ‘second best,’ and ‘common.’ This grants larger insights into the ways in which women understood and described their personal assemblages of clothing. Relying on an intimate knowledge of their as a whole, they recorded subjective decisions about their clothing in the pages of their wills. Ellan Spero Massachusetts Institute of Technology, USA & Singapore University of Technology and Design, Singapore "'Global Bodies' in Transit: Airline Uniforms and National Branding" Travel by airplane in the twentieth century connected distant people and places at speeds unrivaled by other forms of transport. While advances in aeronautical engineering may have been responsible for this new era of global travel, the average passenger experience was, and continues to be, shaped by the cabin and its crew. By focusing on the uniforms designed for airline cabin crew, both female and male, this paper examines the changing role and image of these workers who simultaneously provide safety, comfort, and often glamour. As passenger-facing employees, these people not only embody the airline’s corporate image, but often that of the company’s nation of origin as well. For this transport industry positioned between a luxury and necessity, the uniform serves as a critical piece of the corporate brand, and even a site for fierce competition. Unlike ready to wear or couture fashion, the airline attendant uniform is not meant to explicitly influence wider trends of popular dress, but rather passenger satisfaction and loyalty. Professional and reassuring, cosmopolitan, easily identifiable, idealized, and perhaps alluring, the image of flight attendants serves as an idealized type of “global body,” often representing ethnic diversity, yet within a narrow range of body types themselves. This paper highlights the case of Singapore Airlines, especially the iconic 1972 “Singapore girl” ensemble by French designer, Pierre Balmain. For Singapore, a young, small, and rapidly developing city-nation, both wealth and regional identity are linked to the island’s role as a transit and trading hub that combines “eastern” and “western” cultures into a “global city.”

Evan Stanfield Concordia University, Canada "American Blue Jeans in Japan: How Blue Jeans Helped Mediate a Cold-War Cultural Exchange" Blue jeans manufactured in Japan are acknowledged as the most meticulously authentic examples of the garment presently being produced, but how did this ubiquitous symbol of American material culture become such an object of fascination in Japan? This paper locates the origin of this fascination within the development of Japanese-­‐American relations during the Cold War, and explores how the simultaneous appearance of cultural propaganda and consumer culture affected the popular reception of American blue jeans in Japan. While the relocation of blue jeans manufacturing has been the subject of previous scholarship, the origin of Japan's obsession with the garment is rarely discussed. By looking at the complex meanings associated with blue jeans within the historical context of Japanese-­‐American relations, this paper argues that blue jeans functioned as a powerful link between consumer culture and cultural propaganda that provided an extraordinary way for Japanese consumers to engage with American culture after World War II. To that end, this paper is supported by previously inaccessible visual material from the private archive of Big John Co., Ltd., the first domestic producer of blue jeans in Japan, to illustrate how blue jeans helped mediate an exceptional cultural exchange between America and Japan during the Cold War.

Anka Steffen Europa-Universität Viadrida Frankfurt (Oder), Germany "Silesians and Slaves: How Linen Textiles Connected East-Central Europe, Africa, and the Americas" While research about the circulation of cotton textiles within the Atlantic and the Indian Ocean is progressing and produced already remarkable insights, cloth or clothing made out of linen is mostly omitted in the analysis. Therefore, this paper set its focus on the – in relation to the Atlantic – “peripheral backcountry” of Silesia and its highly productive proto-industrial linen processing during the 18th century. The conditions under which the rural population was producing the linen cloth will be especially central to this paper explaining why linens of Silesian origin were comparatively cheap. While exploring the monthly Journal of the “Schlesische Provinzialblätter” (first published in 1785) and an preserved urbarium (dating back to 1774) in which the rights and benefits of the landlord vero his serfs and tenants were laid down, some conclusions about the “unfree” Silesian textile laborers and their contribution to the global cloth trade can be made.

Eliana Stratica-Mihail Independent Scholar, Canada "The White Wedding Dress: Local and Global Aspects of Feminist Art in 1970s Quebec" The 1960s and 70s in Canada, as in many other countries, were characterized by the emergence of the Women’s Liberation Movement. In Quebec, some artists critically dealt with the meaning of marriage for women in works like Mauve’s installation and performances Woman and the City (1972), and Francine Larivée’s large-scale installation The Nuptial Chamber (1976). At the centre of both of these works is the white wedding dress as a symbol of the increasingly consumerist Quebec society of the 1970s, and, more specifically, of the commodification of women through marriage. Through an exploration of the various meanings of the white wedding dress, and specific political, religious and artistic developments in Quebec, I argue that Mauve’s and Larivée’s particular concern with the issue of commodification in relation to women was a major local characteristic of Quebec feminist art in the 1970s. These concerns were, however, also part of the emergence of the global Women’s Liberation Movement. The question my presentation thus addresses is how Woman and the City and The Nuptial Chamber offer specific local articulations of the broader, global feminist movement.

Miki Sugiura Hosei University, Japan "Slave Clothing and Early Modern Dutch Cloth/Clothing Circulations in Indian Ocean World" The production and circulation of slave clothing in the 18th century were challenging in two respects: First, they had to meet the constant and collective demand for cloth and clothing in remote areas, and second, the clothing had to be cheap. Clarifying this process is also very challenging as the records are often scarce and, moreover, the contexts of slave cloth and clothing varied entirely according to region. Therefore, even when the same labels of, for example, “Guineas” or “Negro Cloth” were used and applied to slave wares inter-regionally, we should be very careful in connecting them. Nevertheless, their manufacture is a crucial aspect of the global history of clothing. By examining how slave cloth and clothing were created and circulated in different Dutch trade posts of the Indian Ocean, this presentation clarifies how textiles were circulated and used for dressing in the global context. The presentation focuses on two rather isolated fringe points of circulation, namely Cape Town and Japan. First, by examining the epistemology of labels used for the imported textiles in Japan from the late 15th century onwards, it will be revealed how the cloth, originally intended for slaves in a Portuguese context, had turned into a major populuxe good by the 17th century in other locations. The paper will then demonstrate how slave clothing was actually manufactured to meet the growing demand in Cape Town colonies, using imported cheap textiles from both India and Europe. Finally, the British takeover of the colony will then clarify how disconnected slave clothing in Dutch circulation were from the British circulations.

Keiko Suzuki Ritsumeikan University, Japan "A Uniform to Embody a Tropical Paradise: Domestication of the Aloha Shirt in Asia" The Aloha shirt, also known as the Hawaiian shirt, was invented by the locals, but it quickly became one of Hawaii’s representative souvenirs. Big demands for the shirts came from an overwhelming number of American GIs who were dispatched to the Asian-Pacific region between the 1930s and 50s, including Hawaii where the headquarters of the U.S. Pacific Fleet was located, Japan after WWII, and Korea in the 1950s. This paper focuses on the shirt’s domestication in Asia afterwards. That is, introduced by the GIs, it spread and stayed, and eventually came to be domesticated by peoples in Asia. This process was certainly helped by the image of Hawaii as a tropical paradise, which continued to be the ultimate tourists’ destination for many. Dreaming of Hawaii-like popularity as tourism destinations, therefore, Hawaiian-themed resort hotels and some municipalities in Japan that promote tourism adopted Aloha shirts as uniforms for their staff and civil servants. Likewise, Jeju Island, known as the “Hawaii of South Korea,” and Hainan Island in China, which marketed itself as “Hawaii in the Orient,” promoted wearing Aloha shirts in their respective resort spots. This paper examines how these Hawaii-wannabe places use the Aloha shirt as uniforms to achieve Hawaiianess.

Sarah Templier Johns Hopkins University, USA "From Rags to 'Everyday Fashion': Stealing and Recirculating Clothes, Textiles and Accessories in Early Republican Philadelphia" Valuable, easy to seize, hide, transform, and exchange, clothes and textiles are an ideal target for thieves. To explore the implication of clothes’ and textiles’ cultural and economic values, the proposed paper offers a systematic study of the theft of clothes, textiles and apparel accessories in early republican Philadelphia. By combining newspapers, courts’ dockets books, and almshouses’ records, this study argues in favor of the central role of the stolen clothes and fabrics in the shadow economy. Thieves were often of low social standing and resorted to the theft as a mean of economic survival and of acquiring apparel. Studying their passage in institutions such as the court, prison and the almshouse unveils and the importance authorities accorded to their crime, the control of their bodies, and dress. By examining the intersection of property crime, social status and consumption of clothes, textiles, and accessories, this paper aims to deepen our understanding of the theft and recirculation of, stolen clothes and textiles as a mean of economic survival, consumption, and self-­‐ fashioning. It exposes the dynamic world of clothing theft and recirculation in the shadow economy and highlights how people of the lower sorts strove to survive, be fashionable and respectable.

Caitlin Thompson Glenbow Museum, Canada "Dandy Lines: Beneath the Surface of the Western Sartorial Identity" Dandy Lines revisits the material histories of Western fashion through material culture methodologies, uncovering the deeper meanings below surface embellishment. By tracing the diverging histories and migrations of ethnicity, class, and gender in twentieth century North America, primarily through the lives of western tailors and seamstresses, the formation of the Western identity is a result of highly crafted fashion. The cowboy will be presented as a dichotomous persona: an antimodernist hero who dominated the new media of radio, film, and television. As fashion enters the media channels of the museum, the 2011 exhibition Dreamsuits: Designs by Nudie Cohn the Rodeo Tailor at the Mode Museum of Fashion in Antwerp will be used as a case study to illustrate how fashion and performance theory can elaborate on the costume and theatrical history of the western sartorial identity. Performing the archive and detailing the process of tailoring will present The West not as a location, but as a myth fabricated and worn by the body of the tailor and the wearer, embodying the desire to transform oneself.

Katherine Townsend, Juliana Sissons & Ania Sadkowska Nottingham Trent University, UK "Dressing the Baby Boomers: Rethinking Fashion Design for a New Demographic" Ageing populations are a global phenomenon, with senior citizens, or silver generations becoming growing sectors of society. In most cultures, mature people are revered, but within a fashion context there is an unspoken expectation that these individuals, and especially women, will fade into the background (Twigg, 2013). Current research into women born between 1946-1964, known as the Baby Boomers, suggests that this is the case in the UK, where women between 55-75 feel a pressure to wear generic silhouettes and elasticated separates in synthetic fabrics and to retire into old age gracefully. The Baby Boomers are the first generation to have been systematically exposed to youth culture, resulting in them having strong ideas about fashion and more significantly, how they style and define themselves through clothing. This paper discusses a research project which responds to this phenomenon, by taking a holistic design approach that considers the physical and psychological needs of a new generation of stylish older women. The article reports on the methodology developed by the three researchers, through the synthesis of data drawn from participants case studies, creative pattern cutting and engineered prints to inform the design of functional and aesthetic fashion prototypes that fill a gap in this emerging market.

Aya Ueda Kyoto Institute of Technology, Japan "From Kyoto to Africa: Creating 'African Wax' and 'Javafrican prints' from Daido-Maruta in Japan 1930s- 1960s" Japan started to export “African prints” in 1928 to East and West Africa and made enormous success, outnumbering Dutch and British textiles. After sudden stop of supply in World War II, it resumed supply after the War and created a second boom in late 40s and 50s. In this second boom, Daido-Maruta Finishing Co., Ltd. was one of the leading post war suppliers of African prints. Established in Kyoto in 1942, it was one of the largest dyeing companies in Japan, specialized in printing textiles for export. Among them, “African prints” accounted for the largest portion of Daido’s products, about 40 percent, in the 1960s, when many African countries attained independence. One of the keys of success of Daido lies in creating new design and color emulating the old. In order to compete with Dutch printing companies amid international price competition of exported textiles, Daido successfully produced inexpensive and still high quality textile called Green Wax in the 1960s. This paper focuses on Green Wax—how Daido successfully introduced the green as a new color to wear to African consumers, while developing it by emulating Dutch prints that had also emulated Javanese ones. The paper introduces Daido Maruta collection, a collection of around 350 textiles materials that miraculously survived when the company closed down in 2008. It reveals their “African prints” product, mass-produced by using roller machines, as well as many non-Japanese textiles and clothes that they gathered for market research.

Takamasa Ueoka Osaka University of Arts, Japan "The Origins of “African Prints”: Trans-bordering Copy Production in the Netherlands" This paper pursues how Dutch “African Prints” manufacturers have imitated Javanese batik and produced fabrics with designs suitable for the African market. It particularly focuses on the case of Vlisco’s products. Established 1846, Vlisco is a leading “African prints” manufacture still existing in Helmond in the south part of the Netherlands. Its high-quality resist-dye prints, called “Real Dutch Wax,” have been famous as the high-end textile for West and Central African fashion. Vlisco originally produced machine-printed textile with resin-resist-dye, which imitated Javanese batik, and exported it to the Dutch East Indies. By the 1870s, however, they could not compete with the local batik industry. That led imitation batik printers in the Netherlands and England, including Vlisco, to start exploring West Africa as their new market at the end of the 19th century, and for that purpose, they added some African tastes to their prints. The paper focuses on characteristics of Vlisco’s “African Prints,” i.e., what kinds of changes the manufacturer made to cater to African consumers, different from Javanese ones. Discussing their changes in not only their techniques, but also print colors and designs, I argue Vlisco’s business efforts made trans-bordering copy production possible.

Kendra Van Cleave San Fransisco State University, USA "Turquerie and Enlightenment Philosophy in the French Fashion Press, 1770-1790" From the late 1760s through the 1790s, clothing that was named and styled after Turkish dress was popular among the middle and upper echelons of French society. In this presentation, I will argue that by merging themes of Ottoman decadence with the supposed classicism of Eastern clothing, the French fashion press attempted to harmonize conflicting ideas about fashion consumption. Drawing on the writings and images of the many fashion magazines published in France from the 1760s through the 1780s (Gallerie des Modes, Cabinet des Modes, Magasin des Modes, and more), I will demonstrate how these periodicals drew on the language of the Enlightenment philosophers and turquerie (Ottoman- focused Orientalism) to sell fashion. Turkish-inspired styles were praised for their naturalism and comfort using direct references to the writings of Jean-Jacques Rousseau. At the same time, these fashions were used to invoke the supposed exoticism and luxury of the Ottoman court. Thus, French fashion magazines encouraged consumers to purchase and wear clothing that allowed them to appear to follow Enlightenment precepts, while simultaneously reinforcing consumption of the ever-changing fashion system.

Cheri Vasek University of Hawai'i at Manoa, USA "Through an Indian Lens: Film Costume Designers Interpret the World" This paper will focus on the aesthetic features and working methodologies of costume designers and other costume personnel in the Indian film industry. The practical personnel hierarchy and job responsibilities of costume workers will be explored, along with regional protocol variations and interregional collaborative working models. The uniquely South Asian resources available to the film / fashion designer will be discussed, including traditional dyeing, embroidery, beadwork and other exquisite textile enhancements. Indian films are created for both a national and international audience, in particular the widely distributed Indian Diaspora (NRI, or Non-Resident Indian). Many Indian films feature scenes that take place in exotic, romanticized international locations: Switzerland, Spain, Peru or Korea. When these scenes include elaborate dance sequences with upwards of 5 changes of costume, the design opportunity is compelling. Costume designs for these international location scenes display the image of global visual culture, as translated through a strikingly Indian aesthetic lens, in a fascinating form of aesthetic acculturation. The costume designer’s work, in effect, becomes the filter through which billions of South Asians understand the wider world, and by extension, their relationship to it.

Meaghan Walker University of Alberta, Canada "Soldiers at Sea: Anxieties about the Uniforms of the Royal Marines, 1793-1815" On the 12th of December, 1807, Cpt. Graves of the British naval ship Brunswick wrote a response to the Admiralty about the hats of the Royal Marines stationed on his ship. Despite the Admiralty asserting that they were "mutilations" and "an injury to His Majesty's Service," Graves defended the hats, which had been modified to look more like Army caps, as giving "a better appearance" and that "I have seen them become clean and steady." Graves' intervention in the Admiralty instituted uniforms of the Marines was only one of a series of incidents where captains took the initiative to modify their soldier's dress in such a way as would also modify their behaviour. This paper will look at the dress of Navy, particularly the Royal Marines, to discuss how institutional dress, in this case military clothing, addresses themes of masculinity, martial prowess, and the docile body. As soldiers at sea, Marines walked a fine line between the perceived discipline of landward troops and the supposed wanton, dissolute "bachelor Jack" of the sea. Graves' letter reveals the anxieties that the British maritime officer class during the French Revolutionary and Napoleonic Wars had about the men under their command and how dress could be a tool for remaking them into a more “steady” fighting force.

Linda M. Welters University of Rhode Island, USA "Fashion Systems Collide: The Contact Period in New England, 1524-1675" This presentation examines the transformation in dress practices of New England’s indigenous tribes that took place during the Contact Period (1524–1675). It is part of a larger project arguing that fashion systems existed outside of Western Europe, including North America prior to European settlement. Existing scholarship relays the basic changes in Indian dress post contact. Not much is known about the pre-Contact period. Thus, scholars rely on ethno-historical accounts and rare archaeological artifacts to determine the appearance of the peoples of the New World. European fisherman and traders interacted with tribal cultures prior to the formation of the British colonies and in the decades following settlement. Some of them made numerous observations about Indian appearance, mostly factual but occasionally judgmental about the amount of skin exposed, as well as the use of furs without “fashioning” them as the Europeans did. Yet they also wrote admirably about hairdressing and wampum. This paper analyzes their observations in a new light, proposing that New England’s tribes had a fashion system of their own, which responded to the changes that arrived with European exploration and settlement.

Cory Ann Willmott Southern Illinois University Edwardsville, USA "Visual Assimilation: Protestant Policies and Anishinaabe Everyday Dress, 1830s-1930s" During the fur trade era, missionaries were the advance guard of the “great law of progress.” Not only did they seek religious conversion, they also actively promoted culture change premised on a belief in agriculture as the pinnacle of intellectual and moral achievement. During the reservation era, missionary influence on Anishinaabe life-ways intensified as they increasingly allied with government agents and implemented government policies. Coming to a peek in this era, a variety of missionary activities were focused on visual assimilation. They strove to make indigenous peoples’ clothed appearances look like those of their settler neighbors as a measure of their successful assimilation into “civilized” society. Focusing on the prevailing Protestant Ethic, this paper will explore theological and social ideologies that affected clothing policies in assimilation programs. In order to fully understand the influence of these policies on Anishinaabe clothing it explores the Protestant moral values that influenced them, such as self-sufficiency, class-based social dispositions, cleanliness, and “civilized” body regimes. Even more important to the transformation of dress was Anishinaabe responses to visual assimilation programs. With adept cultural versatility this paper argues that Anishinaabek adopted and adapted selectively according to their own cultural values.

Sarah Woodyard Colonial Williamsburg Foundation, USA "18th-century Female Mantua Makers and 21st-century Makers: Uncovering the Skills and Techniques" As a tradeswoman-scholar of the eighteenth-century trades of millinery and mantua-making, I will be discussing the international influence and exchange of the broad eighteenth-century world. This global economy of fashion is visible in the changing styles made by mantua-makers influenced from Italy to India. Millinery fashions came to Virginian milliners from Africa, China, Persia, and India with the help of the Dutch, French, Spanish, Portuguese, and English. This paper will explore the skill, process, and product of the mantua-maker and milliner in a multi- ethnic colonial America. We will address these styles and the skill of the tradeswomen from a modern tradeswomen-scholar perspective to include the discoveries that have been made through the making and wearing of facsimile garments. Studying eighteenth-century women’s clothing in an attempt to reproduce the skill and technique by the now anonymous makers has resulted into an intensive and immersive hands-on study through a formal apprenticeship. I will argue that by doing the same work, as modern makers, we step one step closer to understanding the historical makers, the global bodies they dressed, and gain a more intimate understanding of the objects they have left behind.

Paola Zamperini Northwestern University, USA "For the Love of a Peacock: Affect and fashion in Late Imperial Chinese Fiction" Many historians have turned to Ming and Qing fictional sources to reconstruct taste and consumption practices of late imperial times. Plays, short stories, and novels written in classical and vernacular Chinese during this period focus extensively on characters’ appearances and sartorial choices, revealing how both authors and readers alike often understood “literary” clothes as social and status markers that were in turn clearly informed by the taste, fashion, and fads of the authors’ times. But sartorial discourses in pre-modern Chinese literature can shed light on much more than the literal habits of the society that engendered them. Accordingly, in my paper, I will argue that deconstructing fictional fashion practices can provide a very useful set of keys to understanding gender construction, sexuality, and the ethical concerns of writers and audiences alike. Focusing on the relationship between clothing, accessories, and affect in late imperial stories, I will try and deconstruct gendered modes of sentiment as they are, at times quite literally, woven into the fabric of narrative and character development. To follow and understand the complex codes of the “emotional wear” embedded, worn, and decoded by many characters will help us deepen our knowledge of the literature of this fascinating era.

Syprien Christian Zogo Laval University, Canada "Clothing and the Culture of Appearances: Class, Gender and Identity in Colonial Bamum (West-Cameroon)" The multiple meanings of dress have been acknowledged in writing on the subject. Most authors share a common interest in dress and adornment as "a communicative symbol that serves crucial functions within lives" (Roach and Eicher 1979: 20). Among the functions considered are dress indicating social roles, establishing social worth, symbolizing economic status, and serving as emblem for political power. Dress, the cultural artifact, is a system whose symbolism provides cueing for the wearer and observers alike (Smith and Eicher 1982: 28). In order to unravel and understand this, dress needs to be set into the wider cultural matrix, and its symbolic associations and intricate meanings need to be explored (Biebuyck 1982). The focus on the construction of identity, a recent theme in anthropological enquiry, adds another dimension to the exploration of dress and adornment. In situations of rapid political, religious and economic change, choices of dress may represent meaningful statements about identity. Such considerations form the basis for studies of culture of appearances. This paper examines if clothing can, first of all, be used to analyze the complexity of Bamum society of the 19th century. What can a study of clothing habits, despite its diversity and/or homogeneity, reveal about the ethnic, social and gender hierarchies of that period? In light of the changes that took place in the Bamum Kingdom especially during the first half of the 19th century, did those changes have any impact on the local clothing culture? Can changes in clothing choices be used to observe the multiplicity of influences that shaped Bamum society within that century, specifically from Germany formal colonization?