International Colloquium on Textile Engineering, Fashion, Apparel and Design 2014
April 7th-8th 2014
The conference seeks to become a platform for Engineers, Technologists, Scientists, Designers, Apparel Technologists, Managers and Fashion Enthusiasts to share the latest trends and technological breakthroughs in the complex areas of textiles. International and national submissions are encouraged.
Authors are welcome to present their original work in the following research tracks but are not limited to:
- Smart Fabrics and Wearable Technologies and Engineering
- High Performance Textiles in Sports
- Synthetic and Natural Pigments and Dyes
- Innovation in Textile Coloration and Finishing
Fashion, Apparel and Design
- Clothing Design and Manufacturing
- Future Trends and Visions for Textile, Apparel and Fashion
- Education and Training in Textile and Apparel
- Design, Fashion, Footwear Product and Materials Innovation
Deadline for submissions: November 10th 2013
For more information about the colloquium and complete submission requirements, visit the ICTEFAD webpage.
Image sourced from ITAA pintrest
I have been charged for the past several years with reporting to Worn Through readers an account and overview of the yearly International Apparel Association conference. This year the conference was held in New Orleans.
I was impressed by the caliber of design work in the live show this year. As well, delighted to notice that there is a growing number of design awards being offered. As an interdisciplinary practitioner I was especially excited by a discussion regarding Interdisciplinary formats for future seminars. The special topics session coordinated by the ITAA Philosophical Mission Committee offered a full bank of top-notch speakers. Look for the call from ITAA for new seminar concepts in 2014.
The 2013 ITAA keynote speaker was Rick Helfenbein – President of Luen Thai USA, the largest publicly traded apparel supply chain services company on the Hong Kong Stock Exchange. This year Gwendolyn O’Neal was The ITAA Distinguished Lecturer, she spoke of the challenges and opportunities of becoming a highly effective organization and the new skills and competencies needed by leaders to succeed in the coming decades.
Image sourced from NOLAFC.org
This years design panel included Andi Eaton who is the founder of the vibrant NOLA Fashion Council, a non-profit organization that creates opportunity and exposure for both established and up-and-coming Southern based or born designers, while making an economic and artistic impact on the fashion and beauty industry.
Personal obligations shaped my experience of the conference this year. The 2013 conference was unique for me (because of the recent birth of my daughter who is not yet bottle trained) as I spent most of the conference in the elevator between the rooms where I presented and my hotel room. In order to offer the readership a well-rounded overview I elected to interview two colleagues to share there impressions of this year conference.
I reached out to Kendra Lapolla, an Associate Professor at Kent State School of Fashion Design and Merchandising. We met at ITAA three years ago and she is a colleague I love catching up with each year. I asked Kendra what the highlights of the 2013 conference were. She was at ITAA to present research in design.
I’d have to say the opening reception and the live gallery. I thought the opening reception was a great kick off to the event. I especially enjoyed seeing all of the amazing masks that others had made specifically for the opening reception. The live gallery show is also always a great part of the conference and an exciting way to see all the inspiring work. This year I tried to sit with different groups of people everyday for breakfast and lunch. I have to say it was an excellent way to network and reach out to those at ITAA that I haven’t met yet. New Orleans was an enjoyable location for the conference and it was nice that Thursday afternoon was scheduled for exploring. I caught up with a colleague during that time and ventured to the French Market. (personal communication. 10/2013)
Image sourced online.
I also reached out to Martha Hall, Adjunct Instructor at The University of Delaware. This was Martha’s first ITAA conference. Martha was at ITAA to present original research on Dress History, Culture, and Aesthetics.
As first time attendee and recent graduate I was both excited and intimidated to go to the ITAA conference. It represented an amazing opportunity to present research (to get feedback, to get recognition, to challenge myself and be challenged) as well as an opportunity to meet and network with colleagues and peers. I was only staying for one full day of the conference, so I intended to make the most of my time there! I presented during the first session on Thursday, and was overwhelmed with the attendance and response. I was presenting a portion of my thesis research and of course was a bit nervous. I had done a huge study based on original research, and as a graduate student member, it’s a little nerve-racking to stand up in front of esteemed members of the fashion and textiles professoriate. But it went really well and the questions I received following the presentation were stimulating and reflected an attentive audience.
In addition to having the opportunity to present, the most exhilarating part of the entire experience was meeting and networking with colleagues. I’m not embarrassed to say, I completely “geeked out” with meeting some of the attendees. As a grad student immersed in research articles and texts, it is unreal to have the chance to meet some of the people whose work I’ve cited or whose texts I’ve read (Gwendolyn O’Neal, Jean Parsons, Susan Kaiser, Linda Welters…). To be presenting research based on the aesthetic framework of Marilyn DeLong and then be introduced to Marilyn DeLong moments later – realizing she was listening to my presentation – was thrilling! That type of one-to-one engagement with colleagues, from “celebrity professors” to grad students, made the trip to New Orleans such a rewarding and personally enriching experience. I came home with many new friends (including WT contributor Ingrid Mida!) and bursting with ideas for new avenues for scholarship!
In terms of suggestions for improvement: I think that had I not had friends guiding me through the conference, I would have had no idea where to go or what options I had for attending some of the casual sessions (like those during meals). As a first time attendee, I’m overwhelmed just being there and especially if I’m presenting; it would have been really helpful to have had instruction or a general guide from the registration desk about events/sessions, etc. (Personal communication. 10/2013)
Did you attend ITAA this year? What were highlights from your perspective?
Ah, another year, another chance to “discuss” the “problem” of sexyst, racist costumes! The University of Boulder has given bloggers something to write about by encouraging students to make thoughtful, positive choices about their costumes, and to avoid offensive or racist outfits. That which may be deemed offensive is notoriously fluid and the letter written by CU’s Dean of Students Christina Gonzales has, unsurprisingly, attracted accusations of oversensitivity. The letter suggests avoiding the usual suspects, such as: sexualized stereotypes like geishas and squaws, “Mexican” outfits that so often focus on the sombrero/serape combo, and those that play off poverty, such as “ghetto” or “hillbilly.” Its unique suggestion is to avoid the “cowboy” stereotype, which does not reflect the realities of Western life; I can see how some might think this is a step too far, but there are other people who don’t see the harm in their annual pimps and hos couple’s costume.
But this did happen this year:
Topical costumes supposedly depicting George Zimmerman and Trayvon Martin, 2013.
In an article on the Huffington Post, Leanne Italie discusses the incidence of blackface this year (Halloween, birthdays, etc), including a woman who decided to show her admiration for actress Uzo Aduba by dressing up as her Orange is the New Black character, Crazy Eyes (aka Suzanne). Although this may be temporary, Aduba’s work is currently obscured by this act of admiration; she has become the object, not the subject.
Even among those who may disagree with the costumes above, there are some who complain that everything will be (mis)construed as racist or knee-jerk offensive. This assigns an essential Thingness to the practice of Halloween as it is performed today, a willful misrememberance of p.c.-free days past, and a belief that tradition or inheritance invalidates claims of wrongdoing. As Jenée Desmond Harris wrote for The Root in 2012 about that year’s crop of ill-contrived costumes:
[C]ostumes that play on stereotypes about African-American criminality, Asian sexuality and Mexican illegality are as predictable a part of the holiday as candy corn and miniature chocolate bars.
She interviewed David Leonard of Washington State University (excerpted in the 2013 version), who asked:
“Why are ‘the other’ and ‘the exotic’ such sources of enjoyment and pleasure” that they’ve become Halloween staples?
What is the role of intention (good or bad) in the choices we make on Halloween, and should we consider each possible reception? What is our responsibility toward other people, and how does it weigh against the perceived right to wear whatever one wants on a commercial holiday? Is wearing certain clothing exercising free speech, and should it be protected? Unlike the spoken word, these costumes can never be defended as off-the-cuff or an unplanned mistake: these costumes take time, even just a few minutes, of considered creation. Someone splashed red paint on a hoodie and called it a joke, another heated up mom’s iron and applied almost enough letters for the punch line. One must have spent a more than a little time in front of a mirror, literally confronting his bad decision face to face, and still deemed it a good idea.
While most people avoid wearing offensive statements in their day-to-day lives, explicit or implied, intentional or accidental, why do some use Halloween as an opportunity to exercise unrestraint in dress? This is a holiday centered around clothing. The hoodie that became a metonym for Trayvon Martin has a complicated history, but it (necessarily) takes a backseat here to accompanying depictions of violence and blackface. Watered-down, seemingly randomly-chosen signifiers of various cultures become the full extent of the outfit, like fuzzy ears and a painted-on nose are sartorial shorthand for “cat” on this night. It’s rare that a Halloween celebrant takes on the persona, speech patterns, and mannerisms associated with the culture, so the appearance (or phrase ironed onto a plain t-shirt) must stand for itself.
Why do you celebrate Halloween? Be safe and thoughtful out there!
After the Chloé. Attitudes exhibition (which I had the chance to work on), last year, the Palais de Tokyo, a Parisian contemporary art museum, continues its ‘Fashion Program’ with a new display dedicated to the French shoe brand, Roger Vivier.
View of the display.
Photo: Hayley Dujardin-Edwards, 2013.
Virgule, etc. Dans les pas de Roger Vivier (Comma, etc. In Roger Vivier’s footsteps) tells the story of the brand and honours its founder, from the 1930s to nowadays, with the help of about 140 objects curated by the Musée Galliera‘s director, Olivier Saillard. Most of the shoes come from the house’s very own patrimonial department enriched since 2002 and, particularly, with a large purchase, in 2011, during an auction sale. Some institutions have also lent artefacts: the Metropolitan Museum, the BATA Shoes Museum, the Galliera museum and the Romans Shoe museum that conserves Roger Vivier’s archives.
The display evokes a 19th century museum, a ‘cabinet de curiosités’, that presents its ‘exotic’ artefacts within archetypal glass cases, giving the impression of walking down the alleys of the Louvre museum. Rather than being presented following a chronological arrangements, Roger Vivier’s inspirations dictate the themes that organise the display, English painting, African Arts, Egyptian Department, Gallery of Post-impressionism…A nod to traditional museum’s topographies.
View of the display.
Photo: Hayley Dujardin-Edwards, 2013.
Each shoe is given an imaginary alternative name, borrowed from veritable art works, erasing boundaries between art and fashion, temporary display and cultural institution. A theme dear to the curator who refuses fashion exhibitions to be seen as something else than art exhibitions. Here, the function of the shoe is removed, remains an art piece with its very own narrative.
Why not treat these shoes as pieces of art when their designer himself would see them as sculptures? He invented new lines, new shapes that changed the face of shoe-making whilst he also gave much importance to adornments, relying on precious feathered décors, stones or embroideries made by the Lesage historical house. An inventor: he created the stiletto in 1954 and the comma-shaped heel (which the exhibition’s title refers to) in 1963. He took part in iconic historical events and cultural moments: drawing Queen Elizabeth II’s Coronation shoes or Catherine Deneuve’s famous pumps for Luis Bunuel’s Belle de Jour film. Roger Vivier also collaborated with major couture houses, from Elsa Schiaparelli to Yves Saint Laurent and Christian Dior.
View of the display.
Photo: Hayley Dujardin-Edwards, 2013.
The scenography is quite simple and austere but I did appreciate this choice that enables the themes and the shoes to speak for themselves: no need to add anything more. Despite from a few collages and drawings by Roger Vivier and Bruno Frisoni, there are no interactive displays, no videos nor installations.
Olivier Saillard made the choice not to write any technical nor date informations on the labels accompanying the shoes in the cases, to prevent the visitor from giving too much importance to this practical data. Instead, he invites us to observe the shoe, to concentrate on its aesthetic and understand the inspiration behind…Difficult to make the difference between Roger Vivier’s designs (who died in 1998) and Bruno Frisoni’s creations who has taken over the house’s creative direction since 2002: it proves the continuity of the house’s history, something permanent in its aesthetic…However, no need to worry: you are given a booklet with all the precise informations you would like to know about the objects!
View of the display.
Photo: Hayley Dujardin-Edwards, 2013.
I do wonder, however, whether the hints within the themes and shoes’ titles may not bee a little too intellectual for the non-specialised visitor: would everyone get the fact that the scenography evokes a classical 19th century museological presentation? Are all the masterpieces’ titles acknowledged? Personally, I loved the idea but I’m not quite sure it is broad enough. And saying this, I wonder whether it is finally not a further form of education? Visitors, more than the shoe history, are also told about art movements and given names they may would want to know more about in the future…, no?
This exhibition could be a pure marketing exercise: a show about a particular brand proposed by this particular brand. However, because of Olivier Saillard’s strong and independent curatorial choices, the cultural and didactic feel of the display is, hopefully,what comes out most.
View of the display.
Photo: Hayley Dujardin-Edwards, 2013.
As a visitor, I always feel I can relate to shoe displays more easily than to clothing, probably because they are more accessible in terms of shapes and ‘wear’. Shoes ignore body shapes and sizes, they are more self-sufficient whilst they strongly tell the story of an era. There is something very personal and very universal at the same time with a shoe. And, that is why I find Olivier Saillard’s display so effective: each shoe communicates its sense of beauty and its technical approach of form while the thematic ensembles relate to universal inspirations, important art movements that place the shoes within a wider aesthetic discourse.
The exhibition runs until the 18th November at the Palais de Tokyo.
Fontanel, Sophie and Mouzat, Virginie. Roger Vivier. Paris: Rizzoli, 2013.
Melissa’s visit to the Bata Shoe Museum on this blog
Jenna’s interview of Shonagh Marshall for the Shoes for Show exhibition
Heather’s short history of Roger Vivier
For October, I’ve selected a group of slightly sinister documentaries and videos, each focusing on some of fashion’s darker influences. The first two films recount the lives of fashion deviants who produced spectacular garments which at times were also quite disturbing. While the third group of videos focus on a highly influential style that was rooted in rebellion and destruction. As fashion visionary Rei Kawakubo perfectly stated, “For something to be beautiful it doesn’t have to be pretty.”
The Legend of Leigh Bowery (2002)
Image from Leigh Bowery Looks: Photographs by Ferguson Greer 1988-1994
The provocative exploits of artist-musician-fashion designer-performer Leigh Bowery are retold in this 2002 documentary. Interviews with family members, discussions with museum curators, and a large amount of archival footage are expertly combined, illustrating Bowery’s humble beginnings in Australia and his meteoric rise to underground avant-garde fashion legend.
Falling outside of the traditional fashion milieu, Bowery’s costumes are dark, glamorous, and inspiring. Bowery did not design with commercial success in mind. Instead, Bowery’s extravagant fashion creations were a true artistic expression.
While many of the works portrayed in the film are very powerful, a deeper understanding of Bowery’s work would have been possible if placed in context with popular fashion, art, and music of the time. In addition, investigation into Bowery’s influence and legacy would have completed the film.
The Legend of Leigh Bowery is available on DVD through Netflix.
McQueen and I (2011)
Image from Alexander McQueen: Savage Beauty
Produced for Channel 4 UK, McQueen and I traces Alexander McQueen’s rapid rise from fashion school student to one of the most influential and eccentric voices in the fashion industry.
McQueen and I explores the tumultuous relationship McQueen had with patron and muse Isabella Blow. Recent interviews with family members, archival footage of Blow and McQueen, and early McQueen fashion shows are seamlessly woven together, telling the dark story of two fashion innovators and the untimely death of both by suicide.
McQueen and I provides a valuable and rare look at the story behind the now fabled fashion designer. As well as providing an insightful look into the life and influence of Isabella Blow. Stunning video of McQueen fashion shows, including his work at Givenchy and Gucci, are used throughout the film.
McQueen and I is a poignant documentary and a particularly important view for the twentieth century fashion historian.
View the full McQueen and I video on YouTube.
Punk: Chaos to Couture Exhibition Video Resources
Image: Metropolitan Museum of Art
Did you miss the Punk: Chaos to Couture spectacle this past summer at the Met? Wish you could have visited a second time for a closer investigation? If so, below is a useful collection of audio and video features available online.
Punk Gallery Views
This is a fast paced visual tour of the exhibition narrated by curator Andrew Bolton. The concise video highlights ensembles and installation details that could have been easily overlooked. Excellent close-up images and gallery views are provided throughout the video and are almost better than when viewing the exhibition with hundreds of other visitors and under dark dramatic lighting.
In addition, the audio feature at the bottom of the page is an excellent supplement to the video. After viewing the video, some of the information is repetitive however Bolton’s narration is easier to follow in the audio component.
Punk Interview for Vogue Italia
A 2o minute behind-the-scenes interview with Bolton, spliced together with images from the catalog and garments as they are prepared for installation. Bolton introduces us to the key concepts in Punk while explaining the ideas behind a number of the exhibition design elements. Bolton is much more personable and conversational in this video, helping to convey his excitement about the subject matter.
There are a number of costume conferences, curator led gallery talks, and various fashion related museum events happening in the next few weeks and many of them are free!
A Queer History of Fashion Symposium
The Museum at FIT – New York City
November 8 & 9, 2013
The Museum at FIT’s thirteenth fashion symposium, A Queer History of Fashion, boasts twenty participants. Over the course of two days, an international array of scholars, authors, designers, and curators will discuss both historical and contemporary issues related to queer designers, icons, fashion and style. And this year it’s FREE.
Narratives of Women’s Dress
Smith College – Northampton, Massachusetts
November 1 & 2, 2013
This two-day symposium will bring together experts from the United States and Great Britain to speak about the role and importance of dress in the study of women, culture, and history. Speakers will consider the place of dress and costume in academic classrooms and museums, and will speak to the value of studying dress when researching the lives of women over time.
Interwoven Globe: The Worldwide Textile Trade, 1500-1800 Programs
Metropolitan Museum of Art
September 16, 2013 – January 5, 2014
Interwoven Globe: The Worldwide Textile Trade, 1500–1800 is the first major exhibition to explore the international transmittal of design from the sixteenth to the early nineteenth century through the medium of textiles. It highlights an important design story that has never before been told from a truly global perspective. A variety of educational programing is provided. View the full PDF announcement of events at the MET’s website.
The Fashion World of Jean Paul Gaultier: From the Sidewalk to the Catwalk – Curator Talk
Brooklyn Museum of Art
November 2, 2013
Lisa Small, Curator of Exhibitions at the Brooklyn Museum, explores themes in the exhibition.
Hippie Chic Gallery Talk
Museum of Fine Arts, Boston
Final tour before the exhibition closes on November 11th. Complete information available at MFA.org.
Hollywood Costume – The Making of Hollywood Costume
Virginia Museum of Fine Arts – Richmond
November 22, 2013
From funny girls and femme fatales to crime fighters and cowboys, Hollywood movies tell the stories of people, both real and imagined. These people–or characters–drive the action and the mood of the film, and the clothes they wear tell us much about who these characters are,what they are doing, and why we should care about them. Join Doug Fisher, Director of Exhibition Design, and Robin Nicholson, Deputy Director for Art and Education, for a talk about Hollywood Costume.
The Cape – Object of the Month Lecture Series
The Phoenix Art Museum
Saturdays in December
Capes were part of fashionable Dutch women’s ensembles in the 17th and 18th centuries. Docents Judy Steers and Lesley Veit will present a rare example of one made of luxury textiles which originated in India, traveled to the Dutch markets, and combined with delicate patterning for European dress styles. A complete list of dates is available on the Phoenix Art Museum webpage.
If you know of an upcoming event or conference and you would like to add it to our list, email Jon at Worn Through.
It has been described as a “golden crown, a rococo flourish that sets her far apart from the jowly men she has challenged.” And in fact this crown—the braid that adorns Yulia Tymoshenko, who played a key role in the overthrow of the post-Soviet government in Kiev—was a style calculated to appeal to Ukrainians during the Orange Revolution of 2004-2005.
The braid was a key factor in Tymoshenko’s move from energy oligarch to political powerhouse. Needing to distance herself from accusations of elitist privilege, her image consultant, Oleh Pokalchuk, “created an image of a modest village teacher.” As Pokalchuk explained to the BBC, he designed “a retro image evoking memories of childhood and schooldays… simple clothes, simple haircut, a Ukrainian archetype.”
“It was the image of the poetess Lesya Ukrainka,” Pokalchuk said, “who had a similar haircut and who is a positive image for all Ukrainians.”
The original: The poet Lesya Ukrainka
Tymoshenko served as prime minister of the Ukraine in 2005 and again from 2007 to 2010. Since 2011, she has been serving a controversial prison sentence, one widely considered to be politically motivated by her arch-rival, current President Viktor Yanukovich. At this writing, in fact, the establishment of free trade between the Ukraine and the EU is contingent her release from prison for treatment of chronic back problems. The EU awaits Yanukovich’s decision and has given him a November 19 deadline.
Meanwhile, fashion waits for no one…braids were seen everywhere in the recent collections, most Yulia-like (if decidedly more just-out-of bed) at Nicole Miller.
Photo: Rodin Banica
I only recently learned about the wonderful dress collection at Columbia College Chicago. During the recent CSA Midwest Symposium in Chicago, Jacqueline WayneGuite, the Collection Manager, welcomed a large group of us into the Study Collection for a tour. After I returned home, I thought that it would be the perfect way to end my series as Fashion Columnist for Worn Through by featuring this very beautiful and thoughtfully curated collection of garments.
Jacqueline WayneGuite giving a tour of the Fashion Study Collection at Columbia College Chicago in September 2013.
Ingrid: What are the origins of the collection?
Jacqueline: The Fashion Study Collection started when Columbia College Chicago Art + Design faculty, who taught in the fashion program, began to bring in extant garments to teach from. The collection was officially created in 1989 by Dennis Brozynski. In 1997, the collection was reassessed and formalized with an increase in funding, storage, and management. It has grown since then through donations from faculty, private collectors, other institutions, and a small acquisitions budget. It is now housed in the Fashion Studies Department, but open to students from any discipline.
Ingrid: How many garments, accessories and other artifacts do you have in the collection?
Jacqueline: We have about 6,000 garments, accessories, and artifacts in the Fashion Study Collection Vault. Those are supplemented by non-circulating materials such as rare books, designer lookbooks, academic journals, historic patterns, and historic magazines in the Fashion Study Collection Research Center.
Ingrid: What is the oldest piece in the collection?
Jacqueline: The oldest piece in the collection is a pair of split drawers of white cotton batiste from the 1870s. The oldest magazine in the Research Center is a Godey’s Lady’s Book from 1844.
Ingrid: How are the garments stored? By course, by accession number, by designer, thematically or other?
Jacqueline: Most of the garments are hung for space and accessibility reasons. The racks are covered with muslin slipcovers. Pieces that are delicate, extremely special, in poor condition, or cannot be hung for other reasons are boxed. Garments are first arranged by Fashion Designer — European designers are arranged alphabetically, then American designers, and then Asian designers. Garments in the Fashion History section are arranged chronologically by decade. Pieces in our Ethnic and Cultural collection are hung alphabetically by country. We also have some subsections — leather, fur, and uniforms each have their own racks and menswear garments are hung together by type of garment. Accessories, such as shoes, hats, purses, and jewelry, are boxed.
Ingrid: What are the last five pieces that you have acquired?
Jacqueline: In reverse order, we recently acquired a mid 1910s day dress, a 1920s white embroidered day dress, a 1920s metal link bag with an Art Deco design, a 1910s pink corset, and a 1870s paisley shawl.
Dress by Alexander McQueen “The Girl Who Lived in a Tree”
Photo by Jacob Boll for Columbia College Chicago
Ingrid: Tell me a little more about the dress “The Girl Who Lived in a Tree” by McQueen that you recently fundraised to acquire.
Jacqueline: The Alexander McQueen gown is from the Fall/Winter 2008 collection titled “The Girl Who Lived in a Tree.” It is entirely black with a scoop neckline, empire waist, and draped asymmetrical skirt made of crinkled silk chiffon. It is sleeveless. The bodice is adorned with dangling beaded acorns and leaf appliqués.We specifically sought out an Alexander McQueen piece, because he was the most asked for designer that we did not own. We raised money for it at the Fashion Studies’ annual benefit, Fashion Columbia, in June 2013.
Ingrid: What piece would you grab first if there is a fire or flood?
Jacqueline: If the Fashion Study Collection was in danger, I would first grab our Madame Grès gown. Its bodice is sculpted with intertwining fabric in cream, green, and orange. It has an empire waist, and the skirt of cream is delicately gathered at the waist to create a column of fabric. It is exceptionally well made and couture quality.
Issey Miyake Folding Shirt
Photo by Jacob Boll for Columbia College Chicago
Ingrid: What do students ask to see the most often?
Jacqueline: The most asked for pieces are the Alexander McQueen gown from 2008 and a 132 5. Issey Miyake geometric folding sleeveless shirt of recycled-PET polyester in gradations of coral and white from 2012. Garments from the 1920s are also very popular.
Issey Miyake Folding Shirt
Photo by Jacob Boll for Columbia College Chicago
Ingrid: How many students do you have come to visit? Do you allow designers or other researchers to make appointments to visit your collection?
Jacqueline: Each semester, there are about 800 student visits. Students use the Fashion Study Collection either in class, on tours, or by making individual appointments. Some classes use the collection multiple times throughout the semester. The Fashion Study Collection is open to the public by appointment. Academics or museum professionals conducting nonprofit research do not require a fee, although we do suggest that designers or other for-profit researchers give a financial donation of their choice.
Ingrid: Do you try to record details of the social history of the garments? Do any of them have an interesting story that you can share?
Jacqueline: The majority of our collection comes from donations, and we do record the social history of the garments if it is known. Students enjoy learning that kind of information. However, our collection’s mission does not require provenance and a good portion of the collection came from faculty who had connections in the fashion industry, so some of our pieces were never worn before they were donated.There is one lingerie dress from about 1910 that I rather like, partially because it was worn by a faculty member’s grandmother when she was a young teenager.
Ingrid: Do you have a grouping of items that came from one donor?
Jacqueline: Yes, we have multiple donations that contain a large number of items. These large donations are all from faculty members, whom our collection is indebted to.
For more information or to make an appointment at the Study Collection Columbia College Chicago, please contact:
Fashion Study Collection Manager
Columbia College Chicago
P.S.This is my last post as the Fashion in the Museum Columnist since I’ve been spreading myself a little too thin with my many writing commitments. Thanks to all that followed along. I hope we will meet again. I invite you to stay in touch at email@example.com. Ingrid Mida.
Deadline for submissions: November 8th 2013
Symposium 2014 in Exeter – Rites of Passage
July 4th-6th 2014
The 2014 Costume Society – UK symposium will take place in the historic city of Exeter. This year’s theme is Rites of Passage in the context of life in Britain.
While this includes reference to traditional clothing for important life events: christening clothes, first communion, bridal gowns, veils and trousseaux, and mourning dress, other events such as coming of age and clothing marking key milestones such as breeching and debutante dress will be explored.
Papers on any aspect or period of clothing in this context are welcomed. The theme is fairly wide ranging and offers many possibilities for papers. These could include:
- Wedding lace
- Growing up, teenage fashion, popular culture and dress
- The debutante’s wardrobe
- The Mourning Emporium
- Cultural practice and the new born
Interdisciplinary research based on garments and accessories, photography, film, literature, and archives are welcomed.
For more information about the symposium and complete Call for Paper requirements, visit the Symposium 2014 in Exeter webpage.
This week, Worn Through would like to highlight a subject that receives a lot of attention in the media: fashion and body image. The question of fashion’s role in shaping young people’s body images has been hotly debated for the past several decades and especially in the last ten years. Is fashion’s preference for a tall, thin body type at least partly responsible for the booming diet, weight-loss, and cosmetic surgery industries? Does fashion advertising have different effects on a girl or woman based on her preexisting weight, friend group, and skin color? How does one measure the effect of fashion on body image? These questions are only a few of those explored in the following three recently published articles, which examine various aspects of the fashion + body image issue. We hope you enjoy!
1. Kashubeck-West, S., Coker, A. D., Awad, G. H., Stinson, R. D., Bledman, R., & Mintz, L. (2013). Do measures commonly used in body image research perform adequately with African American college women? Cultural Diversity and Ethnic Minority Psychology, 19(3), 357-368.
This study examines reliability and validity estimates for 3 widely used measures in body image research in a sample of African American college women (N = 278). Internal consistency estimates were adequate (α coefficients above .70) for all measures, and evidence of convergent and discriminant validity was found. Confirmatory factor analyses failed to replicate the hypothesized factor structures of these measures. Exploratory factor analyses indicated that 4 factors found for the Sociocultural Attitudes Toward Appearance Questionnaire were similar to the hypothesized subscales, with fewer items. The factors found for the Multidimensional Body-Self Relations Questionnaire–Appearance Scales and the Body Dissatisfaction subscale of the Eating Disorders Inventory–3 were not similar to the subscales developed by the scale authors. Validity and reliability evidence is discussed for the new factors. – Full Article Abstract
2. Lunde, C. (2013). Acceptance of cosmetic surgery, body appreciation, body ideal internalization, and fashion blog reading among late adolescents in Sweden. Body Image, 10(4), 632-635.
This study examined adolescents’ attitudes of cosmetic surgery, as well as the relationships between these attitudes, body appreciation, body ideal internalization, and fashion blog reading. The sample comprised 110 (60 boys, 50 girls) late adolescents (mean age 16.9 years) from a Swedish high school. The results indicated that younger adolescents seem somewhat more accepting of cosmetic surgery. This was especially the case for boys’ acceptance of social motives for obtaining cosmetic surgery (boys’ M = 2.3 ± 1.55 vs. girls’M = 1.7 ± 0.89). Girls’, and to a limited extent boys’, internalization of the thin ideal was related to more favorable cosmetic surgery attitudes. Athletic ideal internalization and body appreciation were unrelated to these attitudes. Finally, girls who frequently read fashion blogs reported higher thin ideal internalization, and also demonstrated a slight tendency of more cosmetic surgery consideration. – Full Article Abstract
3. Seock, Y.-K., & Merritt, L. R. (2013). Influence of Body Mass Index, perceived media pressure, and peer criticism/teasing on adolescent girls’ body satisfaction/dissatisfaction and clothing-related behaviors. Clothing & Textiles Research Journal, 31(4), 244-258.
The present study investigated the relative importance of Body Mass Index (BMI), perceived media pressure, and peer criticism/teasing for body satisfaction/dissatisfaction of female adolescents and their clothing-related behaviors. This study also examined the influence of body satisfaction/dissatisfaction on clothing-related behaviors. Data were collected from a convenience sample of 320 high school girls living in a southeastern part of the United States. The data analysis consisted of exploratory factor analysis, hierarchical regression analysis, and bivariate and multiple regression analyses. When examining the relative importance of the three variables on adolescent girls’ body satisfaction, BMI was found to be the least important factor. When entered into the regression equation alone, BMI was found to be a significant determinant of body satisfaction/dissatisfaction. However, when it was entered into the regression equation with perceived media pressure and peer criticism/teasing, BMI was not a significant factor. The results showed that perceived media pressure and peer criticism/teasing have significant negative influences on adolescent girls’ body satisfaction. The results further indicated that perceived pressure from media affects both self-enhancing and body-concealing clothing-related behaviors. The results also revealed that peer criticism/teasing is a critical determinant of Body-Concealing Behavior. BMI, however, do not demonstrate significant influence on either self-enhancing or body-concealing behaviors. A significant positive relationship was found between body satisfaction and self-enhancing behaviors, whereas a significant negative relationship was found between body satisfaction and body-concealing behaviors. – Full Article Abstract
Image Credit: stellafluorescent.blogspot.com