I have a confession to make: I am a sucker for pretty much all things art deco. I endured Baz Luhrman’s ‘interesting’ interpretation of The Great Gatsby largely because of the design aesthetic (okay it wasn’t that bad). So, when I found out that the Los Angeles County Museum of Art (LACMA) was doing a small exhibition just on art deco textiles, I made sure to go there even before the Kimono for a Modern Age or Treasures of Korea exhibitions I had originally headed south to see. Art Deco Textiles unexpectedly was a great precursor for Kimono because both exhibitions tapped the same inspiration sources in many ways.
The exhibition is small, and tucked away amidst the rest of the museum’s modern art collection of the same time period. Using one of the smaller galleries to showcase several lengths of fabric, placing the exhibition where they did masterfully put the textiles within the greater art and design context in a way that no amount of wall text could. With so many museums dedicating space in their museums to, and thus isolating, their textile and dress collections it does feel like we are losing some of the context. LACMA’s integrating multiple textile and dress displays within other aspects of the museum collection, as well as utilizing special exhibition and specialty display spaces is one of the many ways in which LACMA continues to raise the bar.
That is not to say the wall text was inadequate. It was phenomenal in explaining the Bauhaus school, its influence, and the evolution, début, and proliferation of the art deco style from 1926 throughout the 1930s succinctly and in the context of each of the pieces displayed. No mean feat.
The pieces and the wall texts not only placed the pieces within the artistic Zeitgeist of the time period, caught as it was between the two world wars and aimed to appeal to the “lost generation,” but also showed how art deco textiles were unique and original in their own right. The wall text in particular discussed the design process of each textile, and even gave the names to the now-lost designers.
Art Deco Textiles is both a fantastic introduction to the art deco movement and the textiles it produced, and a great exhibition for those who are familiar with the period. Small, but excellent, Art Deco Textiles is definitely worth the detour if you’re at LACMA.
Have you seen Art Deco Textiles? What did you think? Do you have an opinion on integration versus isolation? Art deco? Feel free to share your thoughts in the comments below. Feel free to share any upcoming local exhibitions or events in your area there as well, or to email me the details.
Let’s set the record straight right now: I’m a huge fan of Dries Van Noten’s work. He’s the designer that makes me proclaim how much I wish I was very rich to be able to buy all his collections, you thus imagine how impartial such a groupie may be when it comes to consider the exhibition celebrating the designer at Paris’ Arts Décoratifs. Yet no fear I intend to be entirely unbiased but let me tell you, this is probably the most beautiful display I have seen for years…
The title of the exhibition is to be taken literally. It is no traditional retrospective but a journey within the fertile grounds of Dries Van Noten’s imagination and how he assimilates diverse materials to fuel his creativity. The display is arranged in various themes, not genuinely in a chronological order even though it does begin with a few pieces from his Antwerp graduation show, in 1981 and ends on his Spring-Smmer 2014 collection. We enter the exhibition through a dark room entirely covered by diverse names and titles such as ‘Grease’, ‘Iggy Pop’, ‘Superman’, ‘Diana Ross’ or ‘Like a Virgin’ that all evoke how versatile the designers’ inspirations are. The different ensembles are arranged as inspirational boards with an eclectic juxtaposition that sometimes clearly justify the design of a garment but also raise inquisitive questions.
The first alcove mingles his early designs with that of his fellow Antwerp comrades such as Raf Simon and Ann Demeulemeester alongside 1980s glamorous pieces imagines by Gianni Versace and Yohji Yamamoto’s minimalist outfits, the whole beside posters and magazine covers of the trendy celebrities of the decade.
The following themes look at Gold, Butterflies, Graphic, Bollywood or Foppish and establish conversations between Dries Van Noten’s creations, historical garments selected within the museum’s archives and art works. Thus an Elsa Schiaparelli butterfly dress meets a Damien Hirst majestic collage, lamé Chanel and Thierry Mugler ensembles are assembled alongside a 1909 embroidered costume from the Balkans while a New Look silhouette contrasts with an Yves Klein sculpture and a Vasarely painting merges with a photography of Serge Gainsbourg. Such diverse personalities as Cecil Beaton, David Bowie and Jean Cocteau are united as the dandy-like inspirations of the Belgian designer’s androgynous and edgy masculine wear – the combination of counterculture and chic gives birth to Dries Van Noten’s recognizable silhouettes made of layering, prints, flamboyant Baroque and bohemian cool.
The second floor diffuses a more dramatic feel, with a highly visual and colorful mise-en-scène: flowered wall paper from ceiling to floor that ultimately brings us into an enchanted garden and an exotic environment. Here, it’s all about flowers – he who loves gardening -Indian luxuriance and Mexican gothic, something of an Alice in Wonderland travels the world…
Despite being a wonderful occasion of discovering such diverse art works and garments, the display is also a fabulous way of understanding the creative process of the designer. And here, it’s no caricatural nor explicit inspiration in the idea of ‘I saw flowers so I put flowers on the skirt’, it’s more about how Dries Van Noten’s garments are based on subtle references and how the flourishing inspirations he surrounds himself with can lead to a cut, a print or simply a purpose as the designer clearly states on the walls of the exhibition: ‘The starting point of a collection can either be very literal or abstract. A painting, a certain colour, a thought, a gesture, a smell, a flower, anything really. What matters to me is the journey from the first flash of inspiration to the final destination, the individual garments, the collection.’
When we observe Dries Van Noten’s garments on catwalks or within boutique displays, one thing clearly comes to mind: these clothes are wearable and lack the sense of spectacle that would have suited more the grounds of a museum exhibition. Yet that’s how the scenography is such a success as it nonetheless proposes a dramatic atmosphere with its spectacular alcoves that resonate with Renaissance ‘cabinets de curiosités’.
There is a strong form of modesty in Dries Van Noten’s choice to not only attract the attention on his work but also on the many creations of the artists and designers he admires. Although the display doesn’t focus on the sole work of the designer, it invites us within his very intimacy, his mind. When we leave the exhibition, we can’t help but think that more than an exposition about Dries Van Noten the designer, we have just discovered Dries Van Noten, the man.
More information: here
CHARM 2015 Conference on Historical Analysis and Research in Marketing
May 28 – 31, 2015 (Doctoral Workshop May 27 – 28)
RMS Queen Mary, Long Beach, California, USA
We invite business, marketing, social science, and humanities scholars from all backgrounds to join us aboard RMS Queen Mary, Long Beach, California for a friendly, collegial, and interdisciplinary research conference. We call on scholars from around the globe to cast a critical look on the history of marketing and how these outputs might be taken to reflect on past epochs to enhance our understanding. Both individual papers and entire panels on all aspects of marketing history, historic marketing, and the history of marketing thought in all geographic areas and all time frames are welcome. Topics may include but are not exclusively restricted to the following:
- Marketing pioneers, the development and evolution of the marketing discipline
- Varieties of marketing cultures and histories
- Writing the past: constructing histories in/for marketing
- The role of relationships and networks in marketing
- Marketing history “from below” – how consumers and citizens respond to and interact with firms and brands
- Distribution and packaging
- Sector case studies, for example beauty and fashion marketing, transportation, leisure, etc.
- Marketing in the projection of national and regional identities
Doctoral students with a particular interest in research methods in marketing history and marketing theory are invited to attend a full-day workshop that immediately precedes the conference. To be considered for this workshop, please submit to Maria Kalamas by December 5, 2014, a statement of interest, a CV, a preliminary or final dissertation prospectus of no more than 10 pages, and a letter of support from your dissertation supervisor (or prospective supervisor). Limited financial support will be available to the strongest proposals. Applicants will be notified by January 15, 2015, whether they will be included in the program. There will also be a special track for the presentation of doctoral projects at the conference itself.
All paper submissions will be double-blind reviewed and a proceedings volume will be published.
SUBMISSION DEADLINE: Sunday, December 14, 2014.
Direct submissions to David Clampin, Program Chair: email@example.com
Please see the conference website for more information.
Whitney Bauck is an artist and writer whose work engages questions of gender and embodiment. She blogs regularly at Unwrinkling.com, where she endeavors to consider fashion from an intellectually and theologically grounded perspective.
“Books are by their nature private and public — a book is a public thing, but it’s read privately — but writing-as-dialogue is open to the community in another way: not everyone can write but everyone talks.” This statement by journalist Michael Ventura aptly encapsulates the spirit of Women in Clothes.
Conceived and edited by New York-based authors Sheila Heti and Heidi Julavits and artist Leanne Shapton, Women in Clothes consists of a compilation of interviews, journal entries, photo essays, conversation snippets and more collected from over 600 women. The book uses the voices and experiences of women from a broad array of backgrounds to examine the basic questions that drive Woman as she stands in front of her closet each morning.
Much of the book grew from a survey sent out by the editors, which includes questions about everything from cultural heritage to daily habits. Responders ranged from a hijab-defending Muslim to a transgender women in London, from an Egyptian TV personality to a sparkly-shoe-wearing American five-year-old. The result of this diversity is a pleasant cacophony of stories that combine to create a volume that feels like a truly immersive exploration of what it means to be a woman in clothing—regardless of age, class, race, occupation, religion or geography.
Moreover, Women in Clothes is peppered with unconventional imagery that enhances the overall thrust of the volume without appearing overly illustrative or flashy. While many books dealing with contemporary fashion rely heavily on glossy images that render them almost magazine-like—an approach that may garner instant appeal but also makes the content feel quickly dated—the visual aspect of Women in Clothes appropriately mirrors the current but somehow timeless nature of the interviews. The collections of images included stand as entries in their own right, rather than accompanying specific texts. Both recurring visual motifs and one-off artworks exist in the volume. Examples of the former include photographic records of items people collect in multiple, from denim jackets to vintage three-inch heels, while the latter describes anything from india ink paintings of clothing stains to a line drawing of clothes discarded on the floor while getting dressed for a special event.
Notably, the only photographic depictions of actual women in clothing are vintage ones, in which women discuss either outfits that were important to them as young children, or clothing their mothers are wearing in photos taken before their daughters were born. Though the book could have leaned on the star power of easily recognizable celebrity contributors like Lena Dunham, Tavi Gevinson or Miranda July, the absence of these famous faces has the effect of leveling the playing field for all contributors. Flying in the face of the world of fashion magazines, blogs and celebrity Instagrams, which generally operate by the unspoken rule that “those who look best have the most authority,” Women in Clothes implicitly declares, “The fact that you are a woman and that you wear clothes is enough to make you an authority. You do not have to be the most on-trend or the closest adherent to what’s considered culturally beautiful to have worthwhile thoughts on, and experiences of, apparel.”
While the opinions of important public figures like celebrities or artists are included in Women in Clothes, the organization of the book gives equal weight to the teenage Israeli soldier talking about her uniform as it does to the designer talking about her boutique. The resulting democracy of opinion makes for a surprisingly well-balanced view of what clothing actually is and does.
This supports the overarching message of this non-linear tome, which is that the act of clothing oneself is a much richer and deeper aspect of human existence than is often recognized—and one common to all of us. By asking questions that have little to do with being on top of what’s “in” or having a vast knowledge of fashion histories, the editors access the truly universal aspects of having a relationship with one’s attire. Keeping in mind that everyone wears clothing and thus has some opinions about it, the editors formatted interviews and surveys in such a way that those who feel outside the traditional boundaries of the fashion industry and history are not estranged. Yet the freshness and depth with which the editors engage questions of dress result in a book that will, I suspect, be as refreshing and worthwhile to the seasoned fashion critic or historian as it is readable to the fashion virgin.
One of the biggest possible objections to the book is its gender exclusivity. While there is nothing wrong per se with making a volume specifically geared towards women, it does seem a pity that most men will likely miss out on the riches enclosed between these two covers based on the title alone. After all, one of the implicit tenets of the book is that clothing is important for everyone, regardless of who they are, and the nuggets of truth contained in Women in Clothes often have more to do with being a human than they do with being a woman specifically.
Nonetheless, Women in Clothes provides a refreshing lens through which to view the activity of dressing. It successfully offers a golden mean for those looking to walk the line between the extremes of over-examination of clothing by the fashion establishment, or complete dismissal by those who see fashion as a superficial waste of energy. Neither a fashion academic’s resource nor a newbie’s introduction to clothing theory, Women in Clothes attains exactly the status it attempts: that of a thoughtful, democratic look at the purpose, function and meaning of clothing at it is embedded in and contextualized by real life today. By relying on diverse voices and diverse avenues for considering attire, Women in Clothes facilitates deep thinking about the real significance of what we put on our bodies.
Have you read Women in Clothes? Feel free to share your thoughts in the comments below.
All images courtesy of Whitney Bauck.
This summer I had the lovely opportunity to meet NADFAS accredited lecturer Jasleen Kandhari, an art historian specialising in Asian art and design. Her breadth of interest in Asian collections is both broad and diverse. In covering subjects from Tibetan Buddhist sculpture and Korean ritual art to Sikh miniature painting and South Asian textiles, Jasleen has enjoyed interesting curatorial positions both here in London and abroad, as well as lecturing in universities and museums around the world. A prolific writer, Jasleen has published frequently on her subjects and is contributing editor (Indian Textiles) for Textiles Asia Journal. Currently, Jasleen is lecturing and teaching the Indian Textiles Course at the University of Oxford Department of Continuing Education as well as delivering study days on Asian art and textiles at Oxford’s Ashmolean Museum, which is what brought me to one of her Exploring Asian Textiles study days at Morley College earlier this year.
Looking at Jasleen’s selection of textiles (author’s own image)
The study programme was fast paced, packed with different mediums and filled with Jasleen’s enthusiasm for her subject. In just one day, we travelled across the geographical expanse of Asia, stopping off in India, Malaysia, Indonesia, China, Japan and Tibet. Jasleen took us on a grand tour of textile design, production and consumption while still allowing us to focus in on a specific example at each place. These ranged from the obvious to the obscure. We embraced the Japanese kimono and the Malaysian songket while being encouraged to take a closer look at the phulkaris of the Punjab and the tiger rugs of Tibet.
Snippet of Jasleen’s textile collection (author’s own image)
Within each location, Jasleen provided the class with lots of visual examples to include handouts, film clips and illustrative slides. In addition, there was an extensive display of textile examples at the front of the room and we were warmly invited to handle these half way through the day, accompanied by Jasleen’s informative commentary about their origins and significance. A personable and confident tutor, matched by a welcoming disposition. Jasleen asked all the students to introduce themselves and was able to respond to every individual interest in Asian textiles with further information. The breadth of motivation was wide for those present. Some were makers, others were thinkers but all shared a common fascination with textiles and were keen to broaden their haptic experience.
Phulkari from Punjabi, Museum of Anthropology, Vancouver, Canada
Jasleen’s own interest in Asian textiles emerges from her expertise in South Asian art and design, which began with a BA in Asian Art History with Music at the School of Oriental and Asian Studies (SOAS) in London and then an MA at Sotheby’s. This was followed by various curatorial and educational positions at the British Library and the British Museum before Jasleen took on the position of Curator of Asia at the Museum of Anthropology at University of British Columbia in Vancouver, Canada. It was there that Jasleen became more interested in Asian textiles, drawn to their large collection of uncatalogued phulkari, a style of embroidery specific to the Punjab. Jasleen also loves contemporary textiles and suggests that her passion was always there, having grown up in Kenya in a family with close ties to India where her aunt is a fashion designer in Mumbai. This was also nicely mirrored in her use of current examples from popular fashion magazines as well as the catwalk to highlight the continued significance of Asian textile design in today’s clothing styles.
Jasleen immersed in the research process; wearing kimono in Japan
When not writing for various cultural publications, Jasleen can be found visiting textile factories, filming production techniques or trying on regional costumes, in an effort to immerse herself in the subject for the benefit of her students. I asked her to share some highlights of teaching a subject she loves. These included inspiring students to want to learn more about the subject; and the fact that it doesn’t feel like ‘work’ but an integral facet of her own passion for the subject. I wondered if Jasleen had any good advice to share with regards to teaching her subject. ‘Always put yourself in the lecture’, she replied. Whether it be wearing a particular costume or including photographs that show you participating in your research, Jasleen suggested this was a vital way to connect with students.
Image from the Sanskriti Museum of Indian Textiles, Delhi
I also wanted to know which museums had enhanced Jasleen’s interest in textiles. Special mentions included the Musee de Jacquard in Roubaix, Northern France, the National Textiles Museum in Kuala Lumpur, Malaysia and the Sanskriti Museum of Indian Textiles in Delhi, India. According to Jasleen, their emphasis on actively displaying techniques and processes allows visitors to see how textiles are produced in a dynamic way. This is very reflective of Jasleen’s pedagogical approach to her subject. The study day was nicely peppered with opportunities to look at a range of material sources, watch films showing how particular types of textiles are made and a myriad of handouts identifying techniques and motifs.
Tiger pelt rug, date unknown
I was particularly struck by her research into Tibetan tiger rugs, of which there are apparently only 200 in existence that feature a tiger pelt motif. Interestingly, the tiger pelt design varies from the very abstract to the very literal. Made from sheep wool, these rugs are said to have come out of Tibet as a result of the uprisings in the late 1950s and early 1960s. Originally made as gifts for lamas, the tiger skin design is reflective of Tibetan Buddhist iconography. Yogins are often depicted meditating on tiger pelts and the tiger is historically believed to have protective qualities amongst Tibetan kings and warriors. These are fascinating textile objects and it was great to be introduced to them by Jasleen in the study day.
When listening to her, I was swept away by the heady descriptions of projects, texts, workshops and tours that Jasleen has in the pipeline, all of which can now be discovered on her own website entitled the Travelling Art Historian. In terms of what the future might hold, Jasleen is enthusiastic about museum education, in particular expanding what is on offer in Asian textiles and arts online courses. Jasleen is also keen to develop her research into Sikh art and textiles, both past and contemporary. According to her, ‘it is very important to record Sikh cultural heritage, which includes the influence of crafts such as textile design and painting’.
Spending the day looking at Asian textiles reminded me how useful it is to put myself in the shoes of the student and the advantages of having material artifacts when teaching what you enjoy. I would also very much like to meet others whose teaching interests include textiles and fashion history/theory here in the UK so please feel free to get in touch by email firstname.lastname@example.org
People often assume that as a costume curator I must be an amazing seamstress, make all my clothes, or can whip out a crinoline in about an hour’s time. There is certainly a perception that to be interested in this area, one must have approached the field from the angle of a designer or a creator who makes things. I often get asked by visitors, “how did you end up in this job?”. They are often surprised to hear that, no, I do not make my own clothes (or clothes for anyone else), and that my interest stems from art history, museology and archival practice, collecting historical clothing, and the sheer joy and fascination of wearing clothes and studying how and why others wear what they do. I explain that there are other ways to professionally engage with clothing besides creating or selling it.
As Emma mentioned in a recent post, there has been a steadily growing academic interest in the act of wearing, choosing, and assembling an outfit–a different approach from the designer’s point of view (or that of a wealthy collector of couture or high-end ready-to-wear, for that matter). That said, I do think that understanding how clothing is constructed is extremely important for the costume curator or collection manager. Knowing how something is made and conforms to, deviates from, or changes with the body allows you to effectively present the garment as well as care for and interpret it. But should all costume curators be able to create all the types of garments, textiles, and accessories in their care? I would encourage all to revisit Rebecca’s thoughtful post from a few years ago; as one commentor said, that’s a “pretty tall order”, but also the goal should be to strike a balance between the theoretical and the material knowledge of the garments themselves.
For those of us who are neither natural nor trained Madeleine Vionnets, there are things you can do to improve your fabrication skills, or at least heighten the understanding of those abilities. After all, the absence of a fine arts, design, or fabrication background is little excuse to completely ignore building up or honing those skills. The suggestions below will not immediately transform you into a cutter/fitter wizard, but here are a few things I have found useful:
- Study up on anatomy and muscle groups of the human body, or how the body behaves or looks in different stances. I’ve been encouraged to do this by conservators and designers over the years, and it’s great advice. Getting to know the human body better (and how different undergarments affect it, of course) means you’ll know how to better represent it beneath clothing. Take a life drawing class if you’re up for it.
- Keep looking. This may seem obvious, but it has been another great piece of advice given to me. Being able to recognize construction techniques, fabric, or embellishments from different eras relies on examining historical clothing over and over again. Of course this isn’t always possible–it may be difficult to get access to a collection or to particular types of garments, and interior details aren’t usually visible or pictured when looking at clothing in an exhibition gallery. If the opportunity to examine real garments is far and few between, of course print publications are the next best thing.
One great resource recently brought to my attention is Couture Sewing Techniques by Claire B. Shaeffer. It includes excellent interior photographs, diagrams and definitions of hand sewing techniques and types of stitches, and explains through text and images how certain visual effects can be materially realized. Even if you can’t execute this type of dress by yourself, you can better understand a garment through such descriptions and excellent photos . Also, fashion collection databases can include an impressive amount of detail and interior images, many with good resolution. The Metropolitan Museum of Art, the Victoria & Albert Museum, and the Drexel University Digital Museum Project are a few examples.
If you’re like me, you’ve amassed and held onto vintage clothing over the years. Really take a look at something and see how it’s put together or how the fabric falls or behaves when it moves. Of course you can handle your own clothes or vintage pieces with more, well, vigor than you can collection material. You can take apart linings or seams to see how something is constructed beneath.
- Take a sewing class to brush up your skills or refresh on the basics. Last fall I took a local sewing class over several weekends and made a simple tunic. Learning how to set sleeves had the side benefit of making better “sleeves” or arms for a mannequin. This forces those of us without fabrication or design background to think from two dimensions to three dimensions. You can also practice making simple undergarments for exhibition display. Lara Flecker’s book, A Practical Guide to Costume Mounting (which I’ve mentioned before), includes straightforward descriptions and diagrams for creating undergarments or reproduction pieces that may be missing from an ensemble, like a sash. It assumes quite a bit of skill or previous knowledge (I don’t feel particularly confident creating a tissue or muslin toile of a fragile slashed 17th century bodice, for example), but overall it is a great resource for raising your confidence in making simple, vital pieces for the display of clothing.
The inaugural issue of Fashion Research Now reflects the aims of the Fashion Research Network: presenting critical, innovative and interdisciplinary research on fashion and dress. It will provide a space for early career researchers and PhD students to publish current and innovative research. Submissions are welcomed from both written and practice-based researchers and can take the form of text or image.
The first publication theme is fashion and archives; we encourage the broadest definition of archives and the archival, including personal collections, physical institutions, digital databases or oral histories.
You may wish to consider the following questions:
- How has your experience of using archives shaped your research question and methodology?
- How has your research or practice experience changed your definition of an archive?
- How have atypical or inaccessible archives influenced your practice?
- To what extent has technological developments in archival processes (i.e. digital archives) changed your research or practice output?
- What role has chance played in your archival experience?
- How have the emotional and sensory aspects of the archive experience influenced your work?
- How do you archive your own research or practice?
Submission Criteria Eligibility:
- Fashion Research Now publishes the work of current MPhil/PhD Candidates and Early Careers Researchers (i.e., within 6 years of receiving your doctorate)
- Submissions should not have been previously published either in physical or digital form.
- Authors are responsible for securing full copyright permission for all images pertaining to their submission.
How to Submit:
Word Length: Text-based essays should be a maximum of 5000 words. Footnotes are permitted, but should be kept to a minimum. A full bibliography must also be included.
Please send full papers in Microsoft Word or a PDF of images and text to email@example.com by Friday 7th November 2014.
Please see the website for more information.
All submissions will be peer-reviewed and the editorial committee will notify all candidates of its decision by January 2015.
Today I am reposting the Students with Disabilities article from June because a reader provided a useful link that I want to share with everyone: http://www.bestcolleges.com/resources/disabled-students/
This article covers your legal rights, what type of academic adjustments will be provided for you, and useful links to help students with disabilities. There is so much information so please click the above link and read over it. Thank you readers for writing in and contributing to Wornthrough.com!
The first year I attended Central Saint Martins, I served as the student course representative for my program. Course reps were given the opportunity to attend faculty meetings and I thought this was a great chance to see the behind the scenes work at my school. The most memorable meeting for me focused on students with disabilities. We discussed both physical and learning disabilities and strategies for working with them. I learned so much and left feeling inspired. I no longer have any of the paperwork from that meeting but there are many articles, such as “The prevalence of dyslexia among art students” written by Ulrika Wolff* and Ingvar Lundberg, if you would like to read up on this subject.
My first year teaching at a university, I followed our syllabus requirements guide and included the disability office information with the short paragraph saying that any student with a disability has a right for reasonable accommodation. Over the years, I have had a few students approach me with a request for more time on tests and assignments. One semester I was given a sheet of paper from a student who told me that I had to sign it and return it to the office. I looked at the sheet and saw that the student had a disability that would require me to step in and provide aid when needed. There was a list of steps that I need to be prepared to do if a situation arose. A feeling of panic washed over me. This was quite serious and I couldn’t help thinking what if I made a mistake? When I went to drop off the paperwork I expressed my concern to the staff member and was told: “You don’t need to worry about this student. They have enough foresight to take care of themselves and contact the department and give you this paperwork. That means they will take care of themselves. The students you need to worry about are the ones that never report their problems.” I wondered how many unreported disabilities or even undiagnosed disabilities our student body may be struggling with.
According to the US Census Bureau, nearly 1 in 5 people have a disability in the U.S. which makes the possibility of having a disabled student in class fairly high. A physical disability may require more planning in a class room setting to accommodate a student, especially in a sewing lab. There is a small business in my town that hires people who are sight impaired to work in a sewing factory. The employees are trained to work in each station and learn how to sew and assemble a finished product. This business has a major contract with the government and is able to employ disabled people while teaching them a trade. I had hoped to tour this facility and report more information but was unable to arrange it.
The TedTalks lecture by Hugh Herr titled “The new bionics that let us run, climb, and dance”, is worth viewing if you haven’t already seen it. Herr says that a human being can never be viewed as “broken” by having a disability. He says, “It is our technology that is broken and inadequate”. The word disabled itself implies that something is not working. But with so many new technological advancements in prosthetics there is a major shift happening in the way we view disabled people in society. Our department recently held a lecture presenting current projects on special apparel for disabled people. Apparel is being redesigned with disabilities in mind such as clothing for a person that sits in a wheelchair all day. Clothing can be ergonomically designed in a way to avoid bulky seams that may put pressure on skin with poor circulation. Clothing that uses the same trends and style lines but redesigns closures is one area that is useful for disabled people as well as the aging population. Many of these design discoveries can be used for all people, disabled or not, and perhaps that is part of the positive change that is happening.
This is a topic that I will continue exploring and would love to write future posts addressing any new information I find. I am also interested in exploring the topic of teachers with disabilities, acquired either before of after they began teaching, and any struggles or strategies used in the classroom. Do you have any experiences with disabled students in the classroom that you would like to share? What are your experiences with teaching with a disability? Please leave your comments below. I look forward to hearing from you.
In October 2013, the V&A Clothworkers’ Centre for the Study and Conservation of Textiles and Fashion in London opened and so it was nice to mark their one year anniversary with my first visit last month. Due to the Centre only being available via advance appointment or a tour once a month on a Friday morning, it has been impossible for me to get there and I do wonder how anyone who works full-time and/or has an interest in or teaches textiles and fashion study is able to access this fantastic resource. Therefore, I was very excited when I found out that the Centre had teamed up with Open House London to allow several tours to take place on a Saturday in September. Finally, I could get a chance to see the Centre and find out more about what it has to offer as a study resource.
Public entrance to Blythe House (author’s own)
It was a rainy Saturday morning when I arrived at Blythe House in Olympia, the home for the Centre as well as other collections belonging to the V&A’s Archive of Art and Design, the British Museum and the Science Museum. As part of the Centre’s design, it was decided to reopen Blythe House’s original public entrance to what was once the largest Post Office Savings Bank in the country. Constructed at the turn of the 20th century, Blythe House served as its headquarters until the 1960s when it relocated to Glasgow. It is a huge, rather grand but formal, building that once was packed with thousands of employees, both men and women, looking after ordinary people’s savings. Walking in, I felt very much like this place had been both factory and civil institution.
The Centre was designed by Haworth Tompkins Architects and to some extent, it is an essay on intervention given that Blythe House is a Grade II listed Edwardian building and so cannot be drastically changed or rebuilt. For example, the reception area has been created by installing a large display case that will contain a rolling exhibition of the V&A’s study collection. The first display is Eduardo Paolozzi’s Krazy Kat Arkive of Twentieth Century Popular Culture, which includes toys, figurines as well as some of his own work.
The redesigned conservation studios have been installed so as to maximise natural light while allowing enough access for the transportation of objects to and from storage. On our tour, we were able to glimpse through the windows and although there were no conservators there that day, a few had kindly left out a few examples for us to have a look at.
Glimpse into the Textile Conservation Studios (author’s own)
With the Centre itself, one of the main issues for the architects was being able to spread the weight of a collection of textiles and fashion evenly across a space the size of a football pitch without altering the ground or the supporting columns. As a result, a huge raised floor was installed as well as limitations on the weight of the collection at any one time. According to one review, every item had to be weighed before it could enter the building. This must have been a considerable task, given that the V&A’s textile and fashion collection includes approximately 104,000 objects that span more than 5000 years.
The Centre’s storage; note the raised floor and the large space (author’s own)
The main study area is beautiful in an understated way, with functionality at the heart of the architectural interruptions to the existing building. Tables are on wheels to allow visitors to move around objects, lights are retractable to allow for close ups or to reduce potential damage and there is even a mirror and a magnet board in the area designated for large study groups. It was nice to see one of the original wooden display cabinets for textiles from the V&A’s former Textile Galleries had been included , a reminder that these have been closed since 2011 and that to have access to the collection now was no mean feat on the part of the V&A and the architects.
Detail showing bees and flowers from evening dress, Norman Hartnell, 1957, V&A
As part of the tour, we were shown a few highlights from the collection, which included an evening dress designed by Norman Hartnell and worn by Queen Elizabeth for a state visit to Paris in 1957. I had previously seen this dress on a display mannequin at The Golden Age of Couture. Paris and London 1947 – 1957 exhibition in 2007 but to see it so close up, laid flat on conservation tissue paper, was a special moment. Not only was it a delight to see the diplomatically inspired embroidery of French field flowers and Napoleonic bees again but the evidence of being worn was also more apparent and somehow more poignant. I could immediately imagine Elizabeth wearing this garment and all that might have happened, seeing it laid out in all its years of existence than I could have when posed on a mannequin in a state of presentation that was never its original destiny.
Study tables in the Centre (author’s own)
The main aim of the Centre is to provide more access within a suitable setting for conservation and study. My understanding is that it was the V&A’s response to long waiting times for people to see the collection up close. I think the Centre is a critical resource and am glad that it is now in a dedicated space. However, I still think access is an issue. It is definitely not possible to visit the Centre spontaneously as it requires you to book in advance and give a reason for your visit. You are also required to provide photo identification on arrival and so you do need to be prepared in advance.
Information desk and note the old wooden display case from the former Textile Galleries to the right (author’s own)
Although this may be apparent for those of us who are researchers and curators, I do wonder whether how inclusive this is of teachers and lecturers in the field. For example, the study group room can only take up to 18 people and is available only for five and a half hours a day, four days a week. Having just begun the academic year again, I am very aware that I am very aware that my classes never seem to be less than 25 students and we may meet on a day when either the Centre is closed or the hours are not suitable. I think this is a missed opportunity because students would benefit greatly from the opportunity to see such amazing primary sources in a setting that is very different from that of the curated exhibition display. It would also provide me, as the teacher, with a new physical context within which to guide student’s learning.
View of Blythe House (author’s own)
The more convenient it is for young people to see what the V&A has to offer, the better it will be for both us and them. Yesterday, one of my fashion students asked me if the objects I had showed them from the V&A’s online collection were replicas. This was a great question and enabled us to consider the origins of museum collections, the ethics of conservation and the availability of artefacts for further study. I was reminded how unfamiliar students are now with museums and their collections. My final thought as I left the elegant Centre and the rather formidable façade of Blythe House was that archives need to be used, ideally by those who will remember them, if they are to survive in the future.
,  http://www.kcwtoday.co.uk/education/c5q6xee5a8.html [Accessed 6/10/14)
 http://historyfashionculture.wordpress.com/2014/07/08/designing-a-design-archive/ (Accessed 6/10/14)
June 18-20, 2015
Università Cattolica of Milan – Italy
Since its beginnings in the middle of the 19th century, fashion has been narrated through multiple media, both visual and verbal, and for different purposes such as marketing and advertising, art, costume history, social research and cultural dissemination. Since then, fashion has represented an important piece of material culture in modern industrial urban societies and in postcolonial and non-western contexts: artefacts that embody workmanship, tastes, lifestyles as well as the costume and art traditions of different countries.
Today, the discourses and the products of material culture developed in the field of fashion are ever more concerned with the issue of sustainability. This issue is seen not just in terms of ecological and ethical practices of production and consumption, as already well established in fashion studies, but also by revealing how fashion is able to create a virtuous circle between the aesthetic innovation of collections and the psycho-physical wellness of the person. The sustainable imaginary of fashion is one which promotes multiple models of beauty, which originates from fashion’s own encounter with other visual cultures worldwide and its dialogue with a variety of fields and disciplines. These can act as a tool to build new social images of bodies, of their health and wellness, new models for actions and practices and for the nurturing of diversity.
Since fashion is a system of material production and consumption, and a system of signs, it involves differently skilled people. Their purposes, however, have often been divergent and too rarely overlapping. Media professionals, communication and marketing consultants, scholars, curators and other actors of the field of fashion develop their own discourses and expertise, but often with little cross over between them. Indeed, comparing and sharing experiences,
concepts and methodologies can be difficult. When these grow out of different national or regional traditions the dialogue can become even more challenging.
The conference Fashion Tales 2015 aims to address this challenge. It hopes to be a platform that facilitates encounters between, skills, knowledge, disciplines and cultures the better to nurture and develop the many products and practices of fashion across which one’s gaze and thought can navigate; those art exhibitions, catwalks, photo books, movies, magazines, ads, blogs, scientific essays and interviews which feed the fashion imaginary.
Call for papers
Recommended topics include, but are not limited to, the following:
1. Fashion and imaginary: how fashion is represented in the fine arts, architecture, music, photography etc., and how these representations inform a sustainable imaginary.
2. Fashion languages and linguistic codes: how to develop a new language for writing and talking about fashion in traditional and digital media (magazines, newspapers, fashion films, blogs, fashion-themed TV series, advertising etc.).
3. Visual methodologies for fashion studies: how to use images and videos in fashion research and communication.
4. Body and beauty: how to represent contemporary bodies in a non-stereotyped way, respecting the differences and the richness of body shapes and ethnic and cultural traits against a standardized image of the body.
5. Fashion and sustainable consumption: how fashion can enhance responsible practices of consumption, including in non-fashion related industries, and act as a tool of identity construction.
6. Social responsibility: how to spread social responsibility through fashion, at different levels (design, production, retail, communication).
7. Fashion houses: how to study and narrate the living culture of the fashion houses, which is an important part of the cultural capital so secretly treasured and guarded by companies.
8. Fashion schools, museums, institutions: how fashion institutions contribute to shaping the sustainable imaginary of fashion.
9. Fashion blogging and social networks: how to promote new fashion communication patterns (top down, bottom up, peer to peer) through web 2.0 and 3.0. How to contribute through them to the construction of new fashion discourses.
10. Fashion trends: how to understand (and forecast) the evolution of society by reading the socio-cultural signals embodied by fashion codes.
11. Fashion and technology: how smart textiles can interact with human body and modify both design and consumption practices on a sustainable basis.
12. Digitalization and materiality: how new personal digital devices influence the construction offashion materiality and its representation.
13. Living fashion vs museum pieces: how to exhibit fashion in museums and in private and public collections without losing its essential dynamism.
14. World tales: how non-Western and postcolonial tales and practices can challenge the Western representation of fashion.
15. Resistant tales: how individuals and groups can produce or use alternative and counter-hegemonic fashion tales.
Deadline: If you wish to present a paper at the conference you will have to submit electronically, using the web-based submission form, an abstract of maximum 350 words and a 120 words profile of each author (including affiliation and, if desired, your two main publications) in English by October 20, 2014.
Files should include the following information in this order:
a) author(s) b) affiliation c) email address d) title of abstract e) body of abstract
Please use plain text and abstain from using footnotes and any special formatting, characters or emphasis (such as bold, italics or underline).
The committee is using EasyChair for the submission and the review process. To submit your abstract please first read carefully the abstract submission guidelines and then connect to FT2015 EASYCHAIR WEBSITE.
Click here for the original Call for Proposal.