You Should Be Watching: Hats!

This month’s YSBW focuses on millinery, taking a look inside the ateliers of two of today’s leading British milliners, Stephen Jones and Philip Treacy.

The first video visits Stephen Jones in his workshop where he discusses his early years in the millinery business, historic references, and why he thinks millinery is still relevant to today’s fashion. The second presents an interview of Philip Treacy as he discusses his process and inspiration.

Bonus video: Deborah Miller of Stephen Jones crafts a Union Jack hat.

 

 

 

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CFP: The Look of Austerity Conference

The Look of Austerity

September 11-12, 2015

Museum of London

2015 marks the 70th anniversary of the end of the Second World War, the beginning of a period of economic austerity for many affected nations. ‘Austerity’ is a term that has recently re-emerged in areas as disparate as politics and design, and is used to describe everything from specific policy decisions to the national mood. In light of this, The Look of Austerity aims to re-examine the post-war period, looking at the changing meaning and the face of austerity and exploring the real implications of austerity policies and culture on sartorial aesthetics. Focusing on the immediate post-war period, specifically the years 1945-1951, we invite papers that examine the popular experience of obtaining and wearing clothes throughout the western world during these turbulent and changing times, exploring the often overlooked areas of ready-to-wear innovation, international dialogues, and approaches that look beyond some of the popular myths of post-war fashion.

Topics for discussion may include:

  • fashion consumption and austerity, particularly popular and everyday experiences of obtaining and wearing clothes
  • the production and distribution of ready-to-wear
  • the role of couture after the war
  • dialogues across Western nations and fashion capitals, particularly Paris, New York, Berlin and Rome
  • visual and written representations of fashion in newspapers, magazines, advertisements, cinema and amateur film
  • biographic approaches, for example diaries, novels and short stories
  • the designer in a culture of austerity
  • the connection between austerity and glamour
  • re-emergence of the austerity look in later periods, for example in the 1970s/1990s
  • the legacy of the look of austerity

Proposals

If you wish to present a paper, please submit the following to austerity@museumoflondon.org.uk:
  • 500 word abstract of the proposed paper naming the presenter(s)
  • contact information: name, title, position, university or institutional affiliation, postal
  • address, email and telephone
  • 150-200 word biography of the presenter(s)

Deadline for submission of proposals: Monday 27 October 2014. Notification will be made to all by the end of November 2014. 

For more information, please visit the conference website.

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On Teaching Fashion: Summer Dresses

I am on vacation this month. Enjoy the fleeting days of summer. Perhaps this video of summer fashions will inspire you?

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Book Review: I Love Those Earrings

cover i love those earrings

A pop history of collectables so often blends nostalgia and personal experience with historic research. The author falls in love with Legos, buttons, LPs, etc in his or her youth, saves up for the first or the elusive, and the rest is publishable material. I Love Those Earrings, by Jane Merrill and Chris Filstrup, is a love story to the earring. The typical pop history approach reminded me a bit of On the Button by Nina Edwards, a book I recently reviewed for DressBut where that book is as scattered as an overturned notions jar, I Love Those Earrings is structured in its historical content and perfectly balanced in its evident admiration for the subject matter. With some dramatic exceptions, I wear the same pearl studs every day. But while reading this book I started to reconsider the costume earrings I’ve carried with me through many moves, reserving for special occasions. Maybe they would work for every day, playing queen or noblewoman on the streets of Stockholm?

From "I Love Those Earrings" by Jane Merrill and Chris Fulstrup, 2014.

From “I Love Those Earrings” by Jane Merrill and Chris Fulstrup, 2014.

As the authors, skillful and familiar storytellers, introduce us to Earring History, we learn that fashionable styles reflect available materials, advancing technology, sumptuary laws. We meet the women who made the jewels famous (and vice versa), find inferences in social mores and are reminded of the earrings worn in Pretty Woman–would you be able to conjure up the shape and size of the earrings, or just the snapping of the jewelry box on her fingers?

Paraphrasing ancient history, myths as painted by Titian, royal marriages, French revolution, and Josephine Baker’s influence, this book flows. It has a charming way of relating these stories of lust and war to their subject: “The initial object of [Henry VIII's] ambition was Eleanora of Austria (1498-1558) who would have brought to England an extravagant collection of earrings.” (27) I enjoyed the juxtaposition that unintentionally created: Henry weighing Eleanora’s earring collection against the Spanish alliance he would gain from marriage with Catherine of Aragon–whom he eventually chose as his first wife for that reason.

From "I Love Those Earrings" by Jane Merrill and Chris Fulstrup, 2014.

From “I Love Those Earrings” by Jane Merrill and Chris Fulstrup, 2014.

The book is organized chronologically, which is logical and easy to follow. As is common for pop histories spanning huge amounts of time, the “early” chapters cover centuries and even millennia, whereas the later might discuss a two or three decades. The chapters are pleasantly organized in different manners, keeping the reader engaged: the sixteenth-century examines European depictions of famous women, the seventeenth-century chapter starts with a tour of Dutch portraits in American museums. The “Belle Époque” leads with a personal history of grandmothers and ends with “In the Colors of Feminism.” When we arrive in the twenty-first century, individual earring artists, almost all American, are given the stage. The book concludes with personal histories from women who love earrings, a short visual glossary of earring fastenings, and a bibliography.

Sushi earrings by Stephanie Kilgast. Pictured in "I Love Those Earrings" by Jane Merrill and Christ Filstrup, 2014.

Sushi earrings by Stephanie Kilgast. Pictured in “I Love Those Earrings” by Jane Merrill and Christ Filstrup, 2014.

The photographs and reproduced paintings included are museum quality, generally well edited. One drawback–perhaps a function of the image budget?–is that many paintings referenced meaningfully in the text are not included visually. But I especially appreciated the authors’ study of contemporary portraits, which gave the work a more academic feel–more than “just” a collector’s delight. As Merrill writes in her introduction,

Swirling quite carefree in culture and fun, I became drawn to earrings like a crow to a piece of silver foil. I consciously wanted to develop my sense of beauty as I had for carpets–and my pursuit became the earrings I saw in paintings, museums, fairs, expositions, and shops. …Playing detective, I would detect a whisper of pearl of pendant in a portrait, which might well not show up in a reproduction. (6-7)

Portraits are prized in this book, and the authors write short analyses of the importance and roles of these paintings in the history of earrings to augment the existence of the extant jewelry. Advancements or fashions in portrait painting as well as the skill of celebrated artists are noted for how they helped make certain types of earrings popular, proved the eminence of the portrayed figure, or highlighted the inherent beauty of stones and precious materials.

From "I Love Those Earrings" by Jane Merrill and Chris Fulstrup, 2014.

From “I Love Those Earrings” by Jane Merrill and Chris Fulstrup, 2014.

Here and there are teasers of other primary source materials, such as an eighteenth-century drawing, a design for Aigrettes housed at the Victoria & Albert Museum in London, seen above. I wish there had been more of these less obvious sources for variety’s sake. Interestingly, as the decades pass in this volume, a greater portion of the jewelry photographed was courtesy jewelry dealers and private collections than museum collections. In the “Victorian Era” chapter, Merrill passes into a collectors’ state:

This brings me to my single, favorite pair of Victorian earrings, where whimsy is executed with perfect craftsmanship, resulting in utterly wearable fantasy. You see this pair of goldfish bowls that were a tour de force in rock crystal. If you’ve carried a goldfish in a bowl or plastic sack back from a country fair or amusement park, you know that the bowl sloshes and almost tips out the fish. The same giddy tension was embodied in these earrings. (101)

Her heartfelt description of “A Mother’s Jewelry Box” will be familiar to many young women (and men). This book is, after all, about (and arguably for) women. Men (or, “studs who wear them”) and jewelry fill one chapter, which also begins with a personal history: Merrill confronts her co-author–her ex-husband–with his adornment choices over the years.

From "I Love Those Earrings" by Jane Merrill and Chris Fulstrup, 2014.

From “I Love Those Earrings” by Jane Merrill and Chris Fulstrup, 2014.

From there we jump into ancient history and speed through the millennia to the seventeenth century. It is also an example of the abrupt endings found here and there in this book: that’s certainly not the end of male earring-wearing, and there is no concluding paragraph. The final line of the chapter concludes an anecdote about the Abbé de Choisy: “Even as he took on the celibate life of a clergyman, he continued to crossdress.”

While entertainingly written, there are some odd punctuation and interesting word-order choices; this may not bother other readers. The style is informal; historian Ion Grumeza personalizes his essay on ancient jewelry with the qualifying phrase, “Romania, where I grew up.” (20) And yes, you will find a few instances of the word “bling.” Sometimes the informality breaks the storytelling spell; the description of sixteenth-century collars as “his, the circus dog style; hers, the standing kind” (26) feels unnecessarily distancing. There are certainly examples of earrings here that could be conveyed as equally ridiculous.

From "I Love Those Earrings" by Jane Merrill and Chris Fulstrup, 2014.

From “I Love Those Earrings” by Jane Merrill and Chris Fulstrup, 2014.

While the visuals are strong (if relatively small), this book is meant to be read. Its value lies in the energetic storytelling, never focusing too long on one subject, time period, or style, but keeping today’s reader afloat on a river of anecdotes and examples. This is not a book from which to pull hard quotations for a term paper, but rather an admiring, playful tribute. There are no citations, and although the bibliography is good, sources quoted in the text are mysteriously not included there. There are not many books that focus on earrings and this is the most comprehensive in years. Books on “dress accessories” rarely include jewelry; books on jewelry are often focused on one designer or try to tackle All of the Jewelry That Ever Was.

The fashion historian might benefit from passages about trends in shape and material, such as how the girandoles of the eighteenth century were largely replaced by pendeloques by the turn of the nineteenth century, or why paste jewels were practical. But this is a book for the aspiring informed collector, and would be a helpful precedent for other writers working on similarly focused subjects. Like any excellent pop history, I Love Those Earrings places its object of affection meaningfully in the course of our accepted history, making that history all the more enjoyable and accessible.

 

Lead Image: Cover of I Love Those Earrings by Jane Merrill with Chris Filstrup. Atglen, PA: Schiffer Publishing, 2014.

 

Find more book reviews on Worn Through here!

Further Reading:

Evans, Joan. A History of Jewelry 1100-1870. Mineola, New York: Dover Publications, 1989.

Mascetti, Daniela and Amanda Triossi. Earrings: From Antiquity to the Present. New York: Rizzoli, 1990.

Phillips, Clare. Jewelry: From Antiquity to the Present. London: Thames and Hudson, 1996.

Steinbach, Ronald. The Fashionable Ear: A History of Ear-Piercing Trends for Men and Women. Burlington, VT: Vantage Press, 1995.

Tait, Hugh, ed. 7000 Years of Jewelry. Richmond Hill, Ontario: Firefly Books, 2009.

 

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Domestic Affairs: Contemplating ‘GORGEOUS’

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I confess I hadn’t expected to like the Asian Art Museum’s new GORGEOUS exhibition done in collaboration with the SFMoMA. The SFMoMA is undergoing some massive renovations and expansion; as a result they have been sending their collection out to various museums and locations so that it can still be enjoyed while the museum is closed. While it’s a great concept I haven’t been all that impressed with the offerings I’ve attended so far (probably due to my lack of knowledge of modern and contemporary art), so I attended GORGEOUS with trepidation.

'Girl in Pink Dress, Senegal by Jim Goldberg (2008)

‘Girl in Pink Dress, Senegal by Jim Goldberg (2008)

I absolutely loved it. The exhibition has a very ambitious purpose: challenging visitors to confront and assess their concepts of what is “gorgeous.” They do this through 72 pieces, from paintings and sculptures, to installation art, photographs, furniture, and clothing — even an iPhone display model. Broken up across four galleries and the main lobby, the objects span 2,200 years and several cultures. The success of this exhibition was as much in the pieces chosen as the juxtaposition of those pieces. On one wall in the first gallery there was a small sketch by Tom of Finland, next to an enormous print of Yasumasa Morimura’s Portrait (Futago), which was in turn next to Sally Mann’s controversial portraits of her children. Having long loved Morimura’s work — and partially due to the sheer size of the piece — I confess his piece was the first I gravitated towards, before noticing the other two.

These were not a “natural” combination of pieces to my mind, but it worked extremely well, creating a conversation about sexuality and beauty. It explored our perceptions of sexual identity — that of ourselves and others — and the development of sexuality, as indicated in Sally Mann’s children imitating the glamorous poses they had seen in adults or magazines and advertisements without understanding their meaning. Concepts I would not have considered together, but which are all interconnected since they connect to not only how we perceive ourselves but hope to be perceived by others.

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During the talk I attended the same evening, which I reviewed for Fashion Historia, it was the Tom of Finland piece that generated the most discussion among the attendees. Were these men posing for each other or for a third observer? Were they establishing a power dynamic? If so, with whom? That the exhibition (and the amazing speaker) enticed complete strangers to offer their opinions about the pieces, and conceptions of beauty and sexuality in a public setting shows how provocative and well done this exhibition was.

The comparisons did not have to be side by side to create such a conversation. The scroll painting triptych of Three Types of Beauties in Edo  were in a completely different part of the gallery from an elaborate Noh theatre robe, and yet the contradiction of the movement in the worn garments depicted as opposed to the static nature of the displayed robe not only emphasized the need for a body to give clothing life, but also that clothes can have different types of beauty depending on whether they are displayed or worn. And that neither is right or wrong or better than the other.

Multiple landscapes on screens and scrolls from China and Japan made for an intriguing comparison mentally when I moved into the final gallery to see an enormous Rothko painting, all of which were still in mind when looking at Jess’s Narkissos, a collaged drawing that explored homosexual masculine desire, and yet was composed as a sort of surrealist landscape with figures. Then there were the similarities and differences between Jeff Koons’s Michael Jackson and Bubbles ceramic statue (it looked rather a lot like an overgrown porcelain figurine of the sort my grandmother has) and Marcel Duchamp’s Fountain. They made for an intriguing parallel despite being in separate rooms. Both were made of porcelain, one was clearly decorative while the other was the creation of art out of the mundane, but they were each museum objects and considered “gorgeous” by someone, and they both had a note of irony in them.

'Narkissos' by Jess

‘Narkissos’ by Jess

The different concepts of beauty and what can be “gorgeous” were explored not only across cultures in the sense of Eastern versus Western, but also through the contradictions found in the struggles between mainstream and subcultures: explorations of homosexual and heterosexual desire, of photographic or traditional portraiture with cubism and surrealism, and (rather hilariously) the foibles of the ultrarich versus the rest of us through Tobias Wong’s and Ju$t Another Rich Kid’s 2005 Coke Spoon 02 made entirely of gold and mimicking the old McDonald’s coffee spoons. Concepts of what is not only beautiful but what can be appropriately depicted within a culture were equally explored — best demonstrated by a beautiful Iranian Qur’an from 1550 decorated with gold and a blue ink made of lapis lazuli.

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The contradictions were sometimes found within the same piece. A piece by Andy Warhol of Jacqueline Bouvier-Kennedy (later Onassis) on the day of her first husband’s funeral was very vulnerable and moving — almost disturbing — despite being a simple black and white image doubled. This woman who represented elegance and chic, looking so quietly devastated and “ordinary,” if you will, was a comparison in and of itself that brought home how unkind it is of society to put people on pedestals of beauty. The same feeling could be found in Marilyn Minter’s Strut, which seemed to emphasize the struggle that exists behind being “glamorous” through the simple composition of a slightly dirty, seemingly rain-spattered foot in a Christian Dior high heel. WP_20140710_024   SFMOMA_Gorgeous_Strut__EX_2014.1.22

Despite not being the final gallery, for me the exhibition ended with Felix Gonzalez-Torres’s Untitled (Golden), an enormous golden beaded curtain that all patrons walked through to exit the gallery and carry on with the exhibition. From a distance, and walking through it, it had echoes for me of Alexander McQueen’s Untitled Spring/Summer 1998 runway show, which McQueen had wanted to title “The Golden Shower.” Though it would be more accurate to say the McQueen show echoed Gonzalez-Torres’s work, since the artwork pre-dates the collection by three years. The piece was created in mourning for Gonzalez-Torres’s partner, Ross Laycock, who had died of AIDS shortly before the artist himself would succumb to the disease. During the talk people offered their perceptions of the piece, a veil, a membrane, a rebirth. Everyone’s experience was different, and yet I agreed with every assessment.

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The exhibition was — as is the catalogue — broken up into general themes, such as “Seduction” and “Fantasy” and “Imperfection,” but I largely ignored these and did as the curators wanted and went in the order that the pieces attracted me. In turns disturbing and enlightening, I found myself approaching each new piece ready to accept its gorgeousness as already established because someone somewhere already thought it was; the challenge was in leaving my own attitudes behind to understand why something I wouldn’t have liked initially might appeal to someone else. The exhibition made me think about difficult, sometimes uncomfortable, subjects such as how we perceive — or stereotype — others, and what really is “beautiful.”

The true result of this exhibition was best summed up by the first paragraph of the final piece of wall text: “The gorgeous is in the eye of the beholder. But for some artworks, the full extent of gorgeousness is not immediately seen — it is something one experiences through reflection over time.” I would extend that thesis to include people as well. This exhibition reminds us to take the time to look deeper.

As always, please share your thoughts about the exhibition or any of the pieces mentioned in the comments below. If you know of any events or exhibitions that you would like to share with Worn Through, feel free to email the details to me, or leave them in the comments.

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CFP: Lost Museums Colloquium

Lost Museums Colloquium

May 7 and 8, 2015

Brown University, Providence, RI

In conjunction with the year-long exhibition project examining Brown University’s lost Jenks Museum, the John Nicholas Brown Center for Public Humanities and Cultural Heritage, the Haffenreffer Museum of Anthropology, and the John Carter Brown Library invite paper proposals for a colloquium on lost artifacts, collections and museums. (Other formats—conceptual, poetic, and artistic—are also invited.) 

Museums, perhaps more than any other institutions, think in the very long term: collections are forever. But the history of museums is more complicated than that. Museums disappear for many reasons, from changing ideas about what’s worth saving to the devastation of war. Museum collections disappear: deaccessioned, traded away, repatriated, lost to changing interests and the ravages of time.

We are interested in this process of decline and decay, the taphonomy of institutions and collections, as a way of shedding light not only on the history of museums and libraries, but also on the ways in which material things reflect and shape the practices of science and the humanities, and also to help museums think about current and future practices of collections and collections use.

We invite presentations from historians, curators, registrars, and collections managers, as well as from artists and activists, on topics including:

  • Histories of museums and types of museums: We welcome case studies of museums and categories of museums that are no more. What can we learn from museums that are no more? Cast museums, commercial museums, and dime museums have mostly disappeared. Cabinets of curiosity went out of and back into fashion. Why? What is their legacy?
  • Artifacts: How do specimens degrade? How have museums come to think of permanence and ephemerality? How do museums use, and “use up” collections, either for research (e.g., destructive sampling), or for education and display; how have they thought about the balance of preservation and use? How can they collect the ephemeral?
  • Museum collection history: How long does art and artifact really remain in the museum? Might the analysis of museum databases cast new light on the long-term history and use of collections?
  • “Lost and found” in the museum: How are art and artifacts “rediscovered” in museums? How do old collections regain their importance, both in artistic revivals and in new practices of “mining” the museum as artists finding new uses for old objects?
  • Museum collections policy: How have ideas about deaccessioning changed? How should they change? How do new laws, policies, and ethics about the repatriation of collections shape ideas about collections?
  • Museums going out of business: When a museum needs to close for financial or other reasons, what’s the best way to do that? Are there good case studies and legal and financial models?
  • The future of museum collections: How might museums think about collecting the ephemeral, or collecting for “impermanent” collections. What new strategies should museums consider for short-term collecting? How might digitization and scanning shape ideas about the permanence of collections?

Papers from the Colloquium may be published as a special issue of the Museum History Journal.

Proposal Deadline: September 15, 2014

Please send an abstract of about 250 words and a brief CV to Steven Lubar, lubar@brown.edu. 

See the conference website for more details. 

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You Should Be Reading: Fashion and the Female Ideal

fashion books from stellafluorescent.blogspot.com

We all know that the ideal female body–its shape, form, styling, even its very presence–has varied dramatically throughout human history. Readers of this blog are aware of the discussions surrounding the unattainably thin female body that has been in vogue for the past two decades, but what of the ways that fashion trends play into that ideal? How is that ideal body clothed? How do those clothes reinforce (or rebel) against the ideal? How have historical clothing trends addressed changing ideals? And (as some of you may be wondering), “Why does it matter?” Here are three articles, published recently, that tackle these questions. We hope you enjoy the selection!

1. Church Gibson, P. (2014). Pornostyle: Sexualized dress and the fracturing of feminismFashion Theory, 18(2), 189-206.

This article is premised on the suggestion that there are now two separate Western systems of fashion; here the word “system” is not intended to evoke the model suggested by Roland Barthes, but rather to refer, quite simply, to a pragmatic “system” of design, manufacture, distribution, and dissemination, similar to the cultural studies’ “circuit of culture” model of analysis. A new, unacknowledged “system” of design and promotion has emerged in the last decade, which has its own fashion leaders in young female celebrities, its own magazines to chronicle their activities and showcase their style, its own Internet presence, and its own retailing patterns. These young women often resemble in their self-presentation the “glamour models” or pin-up girls of popular men’s magazines, whose “look” is a muted version of the styling associated by many with that of hard-core pornography. The “body ideal” of this alternative system is very different to that of high-fashion; once again, it resembles the look of the women pictured in magazines for men. Although one or two writers on fashion have noted this new trend, it is feminist scholars who have shown most interest; they see the new system as part of the “pornification” of contemporary visual culture. A number of these same scholars are avowed anti-pornography campaigners and the author argues that this could further damage the fragile feminist project, already riven by differences. – Paraphrased Article Abstract

2. Kayoung, K., & Sagas, M. (2014). Athletic or sexy? A comparison of female athletes and fashion models in Sports Illustrated swimsuit issuesGender Issues, 31(2), 123-141. 

Using a modified version of Goffman’s (Gender advertisements. Harper Colophon, New York, 1976) gender display as a conceptual framework, this study examined the gendered body images of female athletes and female fashion models. The authors investigated sexualized female body images by comparing athletes with fashion models in Sports Illustrated (SI) swimsuit issues. Specifically, they used images of female athletes and female fashion models from SI swimsuit issues (n = 1,099) over the past 15 years (1997–2011). The variables analyzed included four photographic image categories: photo shot location, facial expression, body display, and hand display. The findings revealed few differences in sexual portrayals between female athletes and female fashion models. – Paraphrased Article Abstract

3. Scarborough, A. D., Hunt-Hurst, P. (2014). The making of an erogenous zone: The role of exoticism, dance, and the movies in midriff exposure, 1900-1946Dress, 40(1), 47-65.

This study examined the evolution of midriff exposure in fashionable apparel between 1900 and 1946. There were two objectives: 1) to understand the cultural factors that influenced its adoption, and 2) discover its stages in becoming an erogenous zone. In this exploratory study, a content analysis was conducted on the fashion magazines Vogue and Harper’s Bazaar; these primary sources, plus analysis of selections from three newspapers, proved to be useful for the exploration of how the exposed midriff evolved from exotic dance wear to fashionable apparel. Cultural events assisted in the progression of fashionable exposure from underwear, swimwear, casual wear to evening wear in clothing that bared the midriff. Standards of morality were instrumental in the process of evolution. Production Codes established for motion pictures reflected and reinforced the morality standards of US society. Parts of the body deemed inappropriate for show in the movies were likewise considered inappropriate for fashionable dress. The 1940s was the turning point as popular culture and World War II helped to stimulate interest and more fashion pages featured women in midriff exposing ensembles. – Full Article Abstract 

 

Image Credit: stellafluorescent.blogspot.com

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A Postcard from Abroad: UK Endeavours

Six months ago, I started to write for Worn Through as a regular UK contributor and over that period I hoped to not only review London exhibitions and events but also interview people and get out beyond the capital to capture dress and fashion studies further afield.  On reflection, while I think I have achieved the former, the latter has proved more challenging, particularly when teaching full-time in the spring semester.  However, I am excited to say that I will soon share my first interview, featuring Jasleen Kandhari, a textile and art historian specialising in Asian textiles.  So, although it’s taken half a year, I am beginning to fulfil more of my initial brief!

To mark this six month occasion,  I want to highlight a few interesting exhibitions across the country as well as those taking place in my hometown this summer.  It’s nice to be able to stop and take the long view half way through the year before moving forward again.  And I was very inspired by Brenna’s Domestic Affairs posts that provide a brilliant round up of American exhibitions and events.

In commemorating this year’s centenary of the First World War, both the Bowes Museum in Durham and Chertsey Museum in Surrey have displays focusing on clothing and fashion from the era until the end of August.  Interestingly, Bowes Museum have chosen to work with BA Hons Fashion Design and Marketing Programme students from Northumbria University to create an exhibition that not only features clothes worn during the period but also contemporary designs inspired by the times.  I think this is an interesting idea because often historical events can seem very remote to a young audience but by embodying history into clothing design, it is possible to learn about and, perhaps more importantly, empathise with the past.

Opening on 1st August, the fascinating exhibition Eye of the Needle at the Ashmolean Museum in Oxford tells the story of  17th century embrodieries through the context of women and girls’ social roles and responsibilities.  Guest curated by Dr Mary Brooks, the exhibition features pieces from the Feller Collection, of which many have never been publicly displayed before.  The exhibition runs until the beginning of October.

Back here in London, there is much to choose from with Return of the Rudeboy at Somerset House, Made in Mexico: The Rebozo at the Fashion and Textile Museum, The Fashion World of Jean Paul Gaultier From the Sidewalk to the Catwalk at the Barbican and The Glamour of Italian Fashion at the V&A 1945- 2014, all open until August.  In addition, Kensington Museum has a new permanent display, which focuses on how everyday fashions have influenced the dress of members of the Royal Family.  Fashion Rules is on display until summer 2015.

I am impressed by the diversity of approach to dress and fashion studies across these exhibitions – it’s good to see only one focused upon a specific designer!  I am hoping to get to as many as I can over the teaching break.  It would be great to hear your recommendations or experiences of other exhibitions and events taking place this summer in the UK  – just add to the comments below!

Top image: Interior view from Return of the Rudeboy at Somerset House, June 2014.

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CFP: Culture and Commerce in the Asian Traditional, Modern and Contemporary Music Industries

Cultural studies print and online journal Situations: Cultural Studies in the Asian Context will be hosting an international conference  on December 12-13, 2014 in Seoul, South KoreaThe aim of this conference is not so much to critique the East Asian contemporary music industries as to empirically analyze them—in terms of their commercial strategies, their creative potential and their range of cultural expression.

Starting in the early 1980s, a variety of popular East Asian musical pop forms began to explore the possibility of breaking beyond their national borders in order to win for themselves new levels of international exposure and influence. Taking their cues from Cantopop and J-pop, these new East Asian popular music forms, drawing on such global trends as Europop and rhythm & blues, reggae and hip-hop, house and techno, soon won for themselves mass followings in North and South East Asia. More recently still, they have begun to reach out to new fan bases in the Middle East, North and South America and Eastern and Western Europe.

The result of this has been an increasingly homogenized set of youth styles and performances and unprecedented levels of profit, overseen by a relatively small network of musical management companies. For example, according to Billboard estimates, “the Korean music industry grossed nearly $3.4 billion in the first half of 2012 … a 27.8% increase from the same period last year.” What is more, these figures belie the actual sums of money being generated. According to CJ E&M, a major Seoul media company, “record sales account for about 40% of the major management companies’ revenue. The other 60% comes from having their stars appear on everything from energy-drink labels to soap operas.” These new pop forms now exist alongside an array of more traditional forms, some of which are also seeking out ways to make their presence felt in the more competitive capital-intensive contemporary pop market.

What is the cultural and commercial logic of these major musical entertainment industries? What can cultural theories say about contemporary celebrity and idol culture? What do we have to say about music and dance performance, cosmetic surgery and diet routines, scandal and gossip, as aspects of wider commercial and cultural management strategies? How have the major musical management companies succeeded in displacing other musical forms from the national imagination? What are the risks and rewards of an increasingly homogenized musical style? How can traditional (trot, enka, pansori) and alternative forms (jazz, blues, punk) best position themselves in a highly capitalized marketplace?

Possible topics of the conference include, but are NOT limited to:

  • The Financial Bases of the Major East Asian Entertainment Companies
  • The Evolution of Girl Groups and Boy Bands (Music, Dance, Image, Marketing)
  • Music Performance: TV, Youtube, Lap Top and Mobile Technology
  • K-Pop Songwriting as Commerce and Creativity
  • The Growing Eroticization of Dance Performance
  • Fads, Trends, Gossip, Scandals: The Making of Pop News
  • Fan Groups, Social Networking, Subcultures
  • J-Pop, K-Pop, Canto-Pop: Fads and Fashions
  • The Role of Impromptu Street and Live Performances
  • Jazz and Blues in the Contemporary Music Scene
  • Traditional and Alternative Musical Forms in a Highly Capitalized Market

Each presenter will offer a 20-minute presentation of a projected 6,000-word academic paper. That presenter will then be invited to take part in a formal question-and-answer session with other panelists and audience members.

Deadline: Abstracts (300 words maximum), full texts or other suitable material must be submitted via email to bk21eng-intl@yonsei.ac.kr by August 15 2014.

Be advised that all accepted participants are expected to turn this initial presentation into a finished 6,000-word paper for possible inclusion in a future issue of our journal, Situations: Cultural Studies in the Asian Context. The deadline for completed papers is November 15 2014. Should you have any questions or require more information, please do not hesitate to contact the conference coordinators, at bk21eng-intl@yonsei.ac.kr.

 

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On Teaching Fashion: Self-Care

Two months ago I attended a yoga workshop for stress relief. The yoga teacher began by asking each of us to say our name, occupation, and why we were stressed. Every person in the class, except one who was a mom with two teenage boys, was a teacher. I was surprised at this and so were the other teachers in the room. Teaching can become stressful when you are trying to juggle research, professional development, conferences, teaching, and helping students. I am always looking for a way to change this.

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In the book “The Resilient Practitioner: Burnout Prevention and Self Care Strategies” written by Thomas M. Skovholt and Michelle J. Trotter-Mathison, the editor points out that “the helping professions: therapy, medicine, social work, and teaching, is demanding because of the nature of the work and these professionals can burn out, basically by giving too much attention to the clients instead of themselves.” Eating well, exercising, and getting enough sleep will help you maintain your health so you can cope with stress easily. But what I got from the book was that problems will arise if you do not believe that you are the most important person that you need to care for. It is easy to say this but acting on it takes an effort from me. Especially since in my culture a woman is expected to care for others and if she chooses to put herself first she is seen as selfish. Being selfish should be a positive thing that we all strive for when it comes to our well-being. I always think of the announcement in the airplane where the attendants tell you “in the event of an emergency place your mask on first and then you can help others”. The book expands on this by stating “Within this larger pull of altruism versus self-care, counselors, therapists, teachers, clergy, and health professionals do their work attempting to live on the balance beam between too much other-care and too much self-care. For example, how much sleep deprivation should the practitioner endure to adequately prepare to help the client, student, or patient the next day? This is just one of many dilemmas continually faced by practitioners in the high-touch fields.”

The school semester begins next month and I’m reflecting on how I can put myself first this year. Exercise such as yoga classes or tai chi are great choices to strengthen your body and relax your mind. Massage is also an excellent choice especially for tired hands that teach apparel courses. I am also interested in practicing guided meditation which helps you refrain your thinking to stop old patterns. Belleruth Naparstek is my favorite source and she offers many free online options. I hope you can join me this school year and make a pledge to take care of yourself first. I would love to do another post next year and see how everyone did with self-care. Please let me know your thoughts. I look forward to hearing from you.

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