Notes to Introduction 1. See especially the methodology issue of Fashion Theory 2.4 (1988); Stella Bruzzi and Pamela Church Gibson, eds. Fashion Cultures: The01ies, Explorations, and Analysis (London: Routledge, 2000); Fred Davis, Fashion, Culture, and Identity (Chicago: University of Chicago Press, 1999); Shari Ben stock and Suzanne Ferriss, eds., On Fashion (New Brunswick, NJ: Rutgers University Press, 1994); Elizabeth Wilson, Adorned in Dreams: Fashion and Modernity (Berkeley: University of Califor­ nia Press, 1987);Jane Gaines and Charlotte Herzog, eds., Fabrications: Costume and the Female Body (New York: Routledge, 1988). I understand "social bodies" as Elizabeth Grosz uses the term to refer to the body as "the political, social and cultural object par excellence, not a product of a raw, passive nature that is civilized, overlaid, polished by culture." Rather the social body is "a cultural interweaving and production of nature," Volatile Bodies: Toward a Corporeal Feminism (Bloomington: Indiana University Press, 1994), p. 18. 2. See Tori! Moi, Simone de Beau voir: The Making ofan Intellectual Woman (Cambridge, England: Basil Blackwell, 1994), pp. 191-92. 3. Valerie Steele, 'A Museum of Fashion Is More than a Clothes Bag," Fashion Theory: The journal of Dress, Body, and Culture 2.4 (1988); Fiona Anderson, "Museums as Fashion Media," in Fashion Cultures, pp. 371-89. 4. Elizabeth Wilson, "These New Components of the Spectacle: Fashion and Postmodernsim," in Postmodernism and Society, ed. Roy Boyne and Ali Rattansi (New York: St. Martin's Press, 1990), pp. 209-36; and her "Fashion and the Postmodern Body," in Chic Thrills: A Fashion Reader, ed. Juliet Ash and Elizabeth Wilson (Berkeley: University of California Press, 1992), pp. 3-16; Jennifer Craik, The Face ofFasltion: Cultural Studies in Fashion (London: Routledge, 1994). 5. Valerie Steele, 'A Museum of Fashion," 327; and Fiona Anderson, "Museums as Fashion Media," p. 376. 6. Stella Bruzzi, Undressing Cinema: Clothing and Identity in the Movies (London: Routledge, 1997); Sarah Berry, Screen Style: Fashion and Femininity in 1930s Hollywood (Minneapolis: University of Minnesota Press, 2000);Jackie Stacey, Star Gazing: Hollywood Cinema and Female Spectators hip (London: Routledge, 1994). 7. Wendy Chapkis and Cynthia Enloe, OfCommon Cloth: Women in the Global Textile Industry (Amsterdam, the Netherlands: Transnational Institute, 1983). 8. Thorstein Veblen, Theory of the Leisure Class (New York: Macmillan, 1899) and (~eorg Simmel, "Fashion," 1904, repr. in the American journal ofSociology 62 (1957): 541-58. 9. Eugenie Lemoine-Luccioni, La Robe: Essai psychanalytique sur le vi'tement (Paris: Seuil, 1983). 208 NOTES TO INTRODUCTION 10. Iris Marion Young, "Women Recovering Our Clothes," in Throwing Like a Girl: Essays in Philosophical and Social Theory (Bloomington: Indiana University Press, 1990), pp. 177-88. On Merleau-Ponty and film theory see Vivian Sobchack, The Address of the Eye: A Phenomenology of Film Experience (Princeton, N]: Princeton University Press, 1992). II. Clare Lomas,"'] Know Nothing About Fashion: There's No Point in Interviewing Me': The Use and Value of Oral History to the Fashion Historian," in Fashion Cultures, pp. 363-70. 12. Roland Barthes, The Fashion System, trans. Matthew Ward and Donald Howard (New York: Hill and Wang, 1983);Jean Baudrillard, "The System of Objects," in jean Baudrillard: Selected Writings, ed. Mark Poster (Stanford, CA: Stanford Univer­ sity Press, 1988), pp. 16-17; Pierre Bourdieu, Outline of a Theory of Practice, trans. Richard Nice (Cambridge, England: Cambridge University Press, 1977); Maurice Merleau-Ponty, The Phenomenology of Perception, trans. Colin Smith (New York: Humanities Press, 1962) and his The Visible and the Invisible, trans. Alphonso Lingis (Evanston, IL: Northwestern University Press, 1968). 13. "Introduction: Commodities and the Politics ofValue," in The Social Lifo ofThings: Commodities in Cultural Perspective, ed. Arjun Appadurai (Cambridge, England: Cambridge University Press, 1986), pp. 3-13. 14. Hildi Hendrickson, ed. Clothing and Diffirence: Embodied Identities in Colonial and Post-Colonial Africa (Durham, NC: Duke University Press, 1996), p. 2. See also Deborah james, '"!Dress in This Fashion': Transformations in Sotho Dress and Women's Lives in Sekhukhuneland Village, South Africa" in Hendrickson, ed. Clothing and Difference, pp. 34-65, esp. p. 34; and Igor Kopytoff's argument that objects are created culturally and cognitively and thus move in and out of being "mere commodities," "The Cultural Biography of Things: Commoditization as Process," in The Social Life of Things, ed. Arjun Appadurai, pp. 64-91. 15. "Interpreted, Circulating, Interpreting: The Three Dimensions of the Clothing Object," in The Socialness of Things: Essays on the Socio-semiotics of Objects, ed. Stephen Harold Riggins (Berlin: Mouton de Gruyter, 1994). 16. 'Historiographie du vetement; un bilan," in Le Vi'tement: Histoire, archeologie, et symbolique vestimentaires au moyen dge, ed. Michel Pastoureau (Paris: Le Leopard d'Or, 1989), p. 28. 17. Roberta Gilchrist, Gender and Material Culture: The Archaeology of Religious Women (London: Routledge, 1994), p. 15. On the reading of medieval texts as cultural objects see Claire Sponsler, "Medieval Ethnography: Fieldwork in the Medieval Past" Assays 7 (1992): 1-30. 18. Nancy K. Miller, "The Text's Heroine: The Feminist Critic and Her Fictions," Diacritics (summer, 1982): 53; Naomi Schor, "Dreaming Dissymmetry: Barthes, Foucault, and Sexual Di±lerence," in Men in Feminism, ed. Alice Jardine and Paul Smith (New York: Routledge, 1987), p. 110; Luce Irigaray, Sexes et parentes (Paris: Edition de Minuit, 1987), p. 126, my translation ("Mais l'un [le feminin] est reduit a une marque, un masque inapproprie, un vetement impute"). 19. 'House and Home: Feminist Variations on a Theme," in Gender Struggles: Practical Approaches to Contemporary Feminism, ed. Constance L. Mui and julien S. Murphy (Lanham, MD: Rowman and Littlefield, 2002), p. 333. 20. On wool, John H. Munro, "The Medieval Scarlet and the Economics of Sartorial Splendor"; Hidetoshi Hoshino, "The Rise of the Florentine Woollen Industry in the Fourteenth Century"; and his "The Woollen Industry in Catalonia in the Later Middle Ages" all inN. B. Harte and K. G. Panting, eds., Cloth and Clothing in Medieval Europe: Essays in Honor of Professor E. 1\1. Carus-Wilson (London: Heinemann Educational Books, 1983), pp. 13-70, 184-204; 205-29 respectively; Eileen Power, The Wool Trade in English Medieval History (London: Oxford NOTES TO INTRODUCTION 209 University Press, 1941 ); A. R. Bridbury, Medieval English Clothmaking: An Economic Survey (London: Heinemann Educational, 1982); Guy De Poerck, La Draperie medievale en Flandres et en Artois: Technique et terminologie, 3 vols. (Bruges: De Tempel, 1951). On linen ,Jane Schneider, "Rumpelstiltskin's Bargain: Folklore and the Merchant Capitalist Intensi±lcation of Linen Manufacture in Early Modern Europe," in Cloth and Human Experience, ed. Annette B. Weiner and Jane Schneider (Washington: Smithsonian Institution Press, 1989), pp. 177-213; and John Horner, The Linen Trade of Europe During the Spinning Wheel Period (Belfast: M'Caw, Stevenson, and Orr, 1920). On cotton, Maureen Fennell Mazzaoui, The Italian Cotton Industry in the Later Middle Ages 1100-1600 (Cambridge, England: Cambridge University Press, 1981) and Franco Borlandi, "Futainiers et Futaines en Italie au Moyen Age," in Eventail de l'histoire vivante: hommage a Lucien Febvre vol. 2 (Paris: A. Colin, 1953), pp. 133-40. On silk, Florence Lewis May, Silk Textiles of Spain (Eighth- Fifteenth Centuries) (New York: Hispanic Society of America, 1957); Robert Lopez, "The Silk Industry in the Byzantine Empire," in Byzantium and the World Around It: Economic and Institutional Relations (London: Variorium, 1978), pp. 594-662; Anna Muthesius, "The Byzantine Silk Industry: Lopez and Beyond," journal of Medieval History 19 (1993): 1-67; and Byzantine Silk Weaving: A.D. 400-A.D. 1200 (Vienna: Verlag Faesbinder, 1997); David Jacoby, "Silk in Western Byzantium Before the Fourth Crusade," in Trade, Commodities and Shipping in the Medieval Mediterranean, ed. David Jacoby (Brookfield, VT: Vari­ orum, 1997), pp. 452-500. On Cloth production more generally, Dominique Cardon, La Drape1ie au Moyen Age: essor d'une grande industrie europeene (Paris: CNRS, 1999); Irena Turnau, 'The Organization of the European Textile Industry from the Thirteenth to the Eighteenth Century," journal of European Economic History 17 (1988): 583-602; Walter Endrei, L'Evolution des techniques dufilage et du tissage du moyen dge a la revolution industrielle, trans. Joseph Takacs (The Hague: Mouton, 1968). On embroidery, Kay Staniland, Medieval Craftsmen: Embroiderers (London: British Museum Press, 1991). On dyeing, Dominique Cardon and Gaetan du Chatenet, Guides des teintures naturelles (Neufchatel-Paris: Delachaux et Nestlie, 1990). On clothing detail adapted from the eastern Mediterranean, Veronika Gervers, "Medieval Garments in the Mediterranean World," in Cloth and Clothing in Medieval Europe, pp. 279-315; Janet Snyder, "The Regal Significance of the Dalmatic: The Robes of le sacre as Represented in Sculpture of Northern Mid-Twelfth-Century France, in Robes and Honor: The Medieval World ofinvestiture, ed. Stewart Gordon (New York: Palgrave, 2001), pp. 291-304. 21. Elizabeth Chapin, Les Villes des foires de Champagne: Des origines au debut du XIVe siecle (Paris: Champion, 1937); Robert-Henri