History Of Fashion Research Articles

Building Three-dimensional Virtual Historic Fashion Museum Exhibitions: From the Perspective of Technology Affordances

Museums are currently undertaking the task of digital transformation. Transformational technology generates revitalization of the curatorship, cultural heritage presentation, management model, and traditional roles of museums. The creation of three-dimensional (3D) virtual museum exhibitions is important to fulfill the revolutionary operational requirements and projections of recent museums through digital transformation. The objectives of this project were to (1) create realistic 3D virtual museum exhibitions accessible from the web, focusing on historic fashions, and (2) provide an analysis of the process and resources for creating 3D virtual museum exhibitions featuring object-focused exhibits. As a theoretical background of this project, the theory of technology affordances and the affordance actualization process were applied in the creation of 3D virtual museum exhibitions. The results of this project provide cultural heritage museums and institutions with useful precedents for the development of 3D virtual historic fashion museum exhibitions.

Undergraduate curators: Production of a justice-oriented fashion museum exhibition

Undergraduate curators: Production of a justice-oriented fashion museum exhibition

Locational Fashion Cultures

This article employs a methodology of locational fashion cultures, which is still under-defined and under-utilized in Fashion Studies, from the interdisciplinary intersections of cultural analysis, cultural history, cultural and media representations of fashion in urban contexts, to help us understand fashion beyond its economic value and systems. As case studies and examples of this methodology, this article outlines four books from my Urban Chic book series (published by Intellect) that examine Berlin, Vienna, Montreal, and Copenhagen cultures through the lens of fashion. The cities in these books are not often considered canonical fashion capitals like Paris, London, and New York, but each has unique and vibrant fashion cultures. By examining their respective fashion cultures, we can investigate the ways in which fashion can be re-inscribed with cultural values independent from its material or trend-driven obsolescence. The article also provides a summary of the various ways in which fashion cultures and fashion cities have been defined and described by fashion scholars to date. It concludes with some suggestions and questions that may be posed in order to analyze and highlight locational fashion cultures.

Correlation between material properties and actual - simulated drape of textile products

With the rapid advancement of digital technology, virtual fashion was born, signifying a milestone in the history of fashion. However, virtual fashion necessitates the accuracy of virtual garments. Therefore, it is necessary to verify that the software accurately reflects the fabric's properties. To accurately evaluate the software, this study altered a few material parameters and compared the results to the actual measured outputs. The selection of three categories of heavy, medium, and light fabrics for measurement is based on industry standards. Sampling based on physical experiments would require a great deal of time and resources; thus, this study proposes a solution to visualize the fabric properties with few inputs in order to surmount the drawbacks of the actual sampling method. The virtual method is utilized to establish fabric properties on the software and assess the drape of various fabric samples. The drape on CLO3D is determined by formatting the fabric's shadow contour, while the drape coefficient is calculated using ImageJ. This coefficient of drapery will be compared to actuality to determine if the software accurately represents the fabric's properties. The drape of the virtual fabric samples after being tried on the virtual mannequin, will be used to design basic garments. Based on the results, the appearance of the product will be evaluated by wearing fabric samples on the virtual mannequin. Increasing the weight of the fabric altered the skirt's appearance due to the higher coefficient of drapery. The increased drape coefficient made the fabric firmer, and the heaviest fabrics were the most rigid, resulting in a greater skirt spread. In contrast, the lightweight fabric exhibited a low coefficient of drape, resulting in softer products. Heavy fabric creates fewer folds. The folds created by the drape of light and medium fabric samples under the effect of their own weight on the CLO3D software are not as smooth and clear as the real samples.

For a Contemporary Vision of the History and the Phenomenology of Fashion

This paper traces the salient phenomena that have marked the history of fashion and define it as it is now-adays. Foremost, an attempt is made to value the term “fashion” under different lights. From the 18th century onward, there was a succession of historical, political, social, and cultural changes that accelerated the phenomenon consolidation of fashion as a cultural phenomenon of great importance and dynamism, both in terms of its incursions into the languages of art and in terms of the international economy.
 A few focuses follow: on Lombard clothing, on how some items played different roles besides clothing, on the costume in the Goldoni’s theater, on the twentieth-century Decadentism of Oscar Wilde, and others. Other aspects that characterize the industry today follow: the intersection of fashion with all the other arts, the role of magazines in the process of women’s emancipation, the meaning of “fashion showcase”, luxury brands and the phenomenon of their counterfeiting, the role of the “prosumer”, and sustainable fashion laws, looking toward a future zero-carbon society.

History and Evolution of Fashion and Design in Different Regions and Periods in France

Purpose: The aim of the study was to investigate the history and evolution of fashion and design in different regions and periods.
 Methodology: This study adopted a desk methodology. A desk study research design is commonly known as secondary data collection. This is basically collecting data from existing resources preferably because of its low cost advantage as compared to a field research. Our current study looked into already published studies and reports as the data was easily accessed through online journals and libraries.
 Findings: The evolution of fashion and design in France is a captivating journey through history, marked by distinct periods of innovation and cultural influence. From the opulence of the Baroque and Rococo eras to the revolutionary shifts of the 19th century, French fashion has continually adapted to societal changes while retaining its elegance and sophistication. Paris, with its illustrious couture houses and fashion pioneers like Coco Chanel, has remained at the forefront of the industry, setting trends and shaping the global aesthetic landscape.
 Unique Contribution to Theory, Practice and Policy: Diffusion of innovations theory, cultural appropriation theory & fashion system theory may be used to anchor future studies on the history and evolution of fashion and design in different regions and periods. Insights gleaned from the history and evolution of fashion and design can inform contemporary fashion practices, from design to production and marketing. Policymakers can benefit from historical analyses of fashion and design in shaping regulations and initiatives that promote cultural heritage preservation, ethical production, and inclusive representation within the fashion industry.

Screaming along to mixtapes: Yellowjackets and the choral female voice as subversive noise

ABSTRACT Engaging with collectivist voice that challenges the “communicative injustices” of neoliberal feminism, this article analyses how the TV horror series Yellowjackets’ soundscape employs unruly female chorus as a form of branded “feminism,” vocalised in places traditionally coded as masculine: punk scenes, the wilderness, and soccer as a team sport. Analysing the opening credits, the title track “No Return” employs Riot Grrrl feminist noise that is synaesthetically embodied by the show’s female characters. Synaesthetic embodiment continues within the series where the female choral voice pendulates between the monstrous screamscape acousmêtre and the joyous singing along to pop music. Furthermore, the article demonstrates how such sonic solidarity becomes the source of “feminist nostalgia” for the then-adult characters whose “affective dissonance” with, and siloing within, present-day neoliberal society leaves them longing for the yesteryears of the 1990s. Finally, the article critically interrogates this nostalgia that, on the one hand, fosters increased diversity onscreen, yet on the other, revises history in popular feminist fashion that obfuscates past and present structural inequalities and the marginalisation of non-hegemonic identities.

Topics vs. Timelines: Restructuring Jazz History Curricula for Today's Classroom

Abstract: Jazz history unfolded chronologically, but chronology does not necessarily imply teleology or causality. In other words, the fact that certain jazz styles came after others does not unquestionably mean that jazz history followed a fixed course dictated by the perceived inevitability of artistic "progress." Although it is important for jazz history students to have a foundational understanding of jazz history in a chronological fashion, presenting history on a straightforward, simplistic timeline defined by distinct style periods is not the only way to teach the music of the past. There may be significant merit in reorganizing the way jazz history is sometimes presented. Musicians, albums, and style movements could be grouped together and studied according to thematically broad abstract topics to stimulate student engagement, independent thinking, and impassioned discussion. Examples include organizing jazz history curricula into nonsequential subjects such as jazz and politics, jazz and gender, jazz and racial identity, jazz and economics, jazz and the government, jazz and authenticity, and jazz and technology.

Displaying and Experiencing Dress Identities in Museums: Case Studies from the Etruscan Period to Modern Times

Dress, clothes, and accessories receive and give meaning through their nearness to the human body. As P. Stallybrass writes: “Bodies come and go: the clothes that have received those bodies survive.” It is through the close interaction between dress and person that they both receive their meaning. Clothes shape the human body, and we in return shape our clothes. Dress communicates class, gender, nationality, and marital status, and we leave behind parts of us in its smell, wrinkles, wear, and tear: “Clothes receive the human imprint.” Archaeological and historical dress — no matter how ancient — remain intrinsically linked to their wearers. These are objects of use, affection, value, and memory, and through the study of the dress of past people, we may wear their habits and inhabit their spaces however briefly. The visual appearance of people, in more recent times as well as throughout history, is a clear marker of identity and an important communication medium. For this reason, costume and jewelry serve as an “anchor point” to involve people of the 21st century in studies of the life of prehistoric and ancient societies. This is worth considering, as archaeological textile research needs a strong commitment to public outreach and education, as well as to be integrated into the challenges of our time and to participate in current debates. Through the lens of deep history, it can inspire people to think about such questions as identity, resource use, and shared heritage, among others. Dissemination of textiles and clothing for the broader public in museums is realized through various channels. These range from the exhibition of individual objects, such as textiles, garments, jewelry, and dress accessories, to virtual recreations, and encompasses workshops, citizen science projects for the recreation of historical garments, media-effective historical fashion shows, and reinterpretations of aspects of historical garments through contemporary fashion. This remains an ongoing process, since the interpretation of the past will never be complete, and every generation formulates new approaches. The EuroWeb COST Action (2020–2024) serves as an innovative hub to gain understanding of historical as well as recent dress identities. For this contribution, different aspects of the history of fashion from various museums have been selected as case studies, to demonstrate the wide span of possibilities for displaying and experiencing Dress Identities. Our journey starts with Etruscan jewelry as displayed at the Staatliche Antikensammlungen in Munich (Germany), leading to Early Medieval dress, recreated from various sources as a physical dress ensemble as well as a virtual one, and used for science communication at the Natural History Museum Vienna (Austria) and Halle an der Saale (Germany). As both of the first examples derive from archaeological contexts, we do not have complete garments. This was why we also wanted to explore the possibilities for dissemination of “folk historic costumes”, like a traditional mourning dress as displayed at the Museum Amager (Denmark).

1874-1875: The Birth of a Fashion Heritage Consciousness in France

The first exhibition about the history of costume, the “Musée historique du costume” was inaugurated in France in 1874. One year later, the historian and archaeologist Jules Quicherat (1814-1882) published the first popular book about French dress history, l'Histoire du costume en France depuis les temps reculés jusqu'à nos jours (Hachette, 1875). The exhibition and the book were immensely popular. This article seeks to understand the nascent interest in the material culture of fashion that they both revealed. A closer examination of how the organizers chose to display the objects in the “Musée historique du costume”, as well as the way they instructed the visitor to see what was in the exhibition, reveals the very first institutional framework for public interaction with historical fashion objects. The analysis of the Histoire du costume, and in particular a careful examination of the method used by Quicherat, shows how Quicherat succeeded in integrating fashion objects as sources into a larger historic narrative.

La fraise : histoire d’un accessoire et de sa terminologie

Between specialised and general language, the domain of fashion is of great interest for the study of terminology: a terminology that, following the trends of an era, evolves over time and space. In this context, this study focuses on a fashion accessory of ancient origin and on its terminology: the ruff.Very fashionable in the 16th and 17th century, after having symbolised the austerity and rigour of the Reformation and the Counter-Reformation, the ruff became a symbol of elegance and power. Nowadays, some fashion companies have reintroduced this accessory whose value has changed: contemporary ruffs are extravagant accessories for their shapes and sizes, that inevitably evoke the 16th and 17th century. The study of ruffs requires heterogeneous sources, such as manuals of fashion history, technical documents and lexicographic resources. Moreover, iconographic sources – paintings, sculptures, sketches – are to be collected and analysed, since they clarify similitudes and differences between different types of ruffs. After having described the most important sources for this study, the history of ruff is presented into details, in order to describe its different models. Then, a terminological analysis is conducted: the French terminology of this accessory is presented, with a focus on the difference between the termsfraise, collerette and gorgerette. The French terminology is compared to the Italian one and a French-Italian glossary is prepared in order to answer to the needs of experts of communication, translator and people working in the fashion field.

Observations on the "Body" in the Study of Fashion History: A Discussion on the Emergence of the Stand-up Collar in Late Ming

The study of fashion history is an important category in the research of everyday life history. From a historical perspective, the study of fashion focuses more on the relationship between clothing, people, and life. Based on a view of the body, this article takes the popularity of the "stand-up collar" in women's clothing during the Late Ming period as an example and rethinks the changes in fashion. This paper believes that the popularity of the stand-up collar in Late Ming was mainly related to keeping warm. The "protective collar" on the crossover neckline and the combination of buttons formed the prototype of the stand-up collar. Subsequently, the stand-up collar was combined with both the large lapel and double-breasted cutting methods, constituting the main popular style of women's clothing in the middle and late Ming periods, and having a profound impact on later generations.

Analysis of the Formation of Western Fashion Style in the 1980s

Clothing is an important factor that affects the beauty of women's form, and it is also an external manifestation of women's thinking. The popular women's clothing in the West in the 1980s had a very unique and significant style, to the extent that the aesthetic formed by women during this period has continued to the present day. Nowadays, many fashion designers often refer to the fashion elements of the time when creating. The formation of style is inseparable from the historical background. This study analyses the factors that influenced the style of women's clothing in the 1980s by consulting literature, websites, and books. That was an era when women began to gradually enter the workplace. Influenced by the background of this era, women's clothing broke away from the limitation of showcasing women's physical appearance and more developed towards a neutral and capable style. At the same time, due to the vigorous development of the economy, extravagance and exaggeration became the mainstream at that time. All of these have formed the unique trend of women's clothing in the 1980s. The significance of this study is to analyze the causes of Western women's clothing styles in the 1980s in detail, in order to gain a more comprehensive and detailed understanding of the fashion history of that period.

Decolonial fashion ethnography: ‘Before Yesterday’ method

This article explores decolonial fashion ethnography, focusing on the convergence of media and fashion in Angola and Brazil. Through fieldwork research, the article examines the production and circulation of fashion goods. The article emphasizes the need to decolonize the media and fashion industries, proposing the Antes de Ontem method for decolonial fashion ethnography. This method encourages a shift away from Eurocentric and binary thinking, promoting inclusivity and diversity in fashion research. The author emphasizes the coloniality of dress and the perpetuation of structural and cultural racism within the fashion industry. The article concludes by advocating for the integration of Afro-Brazilian fashion history and knowledge, challenging structural racism and Eurocentrism in the industry.

Fiat Fashion: An Exploratory Study on the Construction of a Price Index for Luxury Fashion Sold at Auction

This study situates fashion history in the context of art market research to explore the assetization of luxury clothing. Art markets and the luxury fashion industry developed in tandem and yet there have been no cultural economic studies on fashion as a form of art. This study takes a data driven approach to assessing the monetary value of clothing sold at auction at Christie’s primarily in the twenty first century. The results of this study confirm with a high degree of statistical significance that fashion auctions at Christie’s, Inc. auction house have become increasingly lucrative since the twentieth century. Moreover, the results of this study show that there is a statistically significant financial incentive to purchase and hold onto certain luxury clothing items from the canons of fashion history. This study provides a baseline on which to explore increasingly atomized configurations of value with respect to material culture from fashion history.

Flags and fashion: expressions of solidarity through lesbian clothing

The clothes worn by lesbians are rich in meaning. Sometimes, they can help us to understand lesbian history and the social, personal, political, and erotic context of lesbian lives in the past. As LGBTQ communities have grown and the connections between groups within it have become at once stronger and more complicated, the clothes that lesbians (and others) wear can function as narrators. Lesbian fashion can be a tool for solidarity, our ideals worn quite literally on our sleeves. This paper is an analysis of how clothing has been - and is being - used by lesbians to show support for other groups within LGBTQ communities, through a fashion history lens. The focus is on printed t-shirts as well as clothing in different Pride flag colours, which I propose can be understood as a kind of “flagging.” Flagging, here, is a way to understand the intentional choices made by lesbians and other LGBTQ + people when signalling personal identities and intra-community solidarities through dress. When solidarity activism is placed directly onto the lesbian body, it is personal, and can craft specific messages. These messages, constructed from a language of identities, visual culture, and physical garments, are what this paper seeks to examine.

Introducing the Methodology of ‘Critical Fashion Practice’ into Fashion Design Studies in Croatia

Since the advent of mass production, where the quantity of clothing reflects the consumption habits of society, fashion has become a reflection of the capitalist atmosphere. The reciprocity of society and fashion begin to occupy and initiate all the intense theoretical discussions that lead to the emergence of new branches of scientific research in the social-humanist field. The two most important scientific field are the history of fashion and fashion theory, whose analyses focus on the role of clothing as part of material culture conditioned by the political, social, economic and religious context. These two branches of science are increasingly becoming the focus of fashion design students in the education system. As a result, the above disciplines are included as separate compulsory subjects in the fashion design programme, developing strong theoretical skills at the expense of practical production and collection making. This approach represents a significant departure from the curricula of previous fashion design programmes, where the conditioning of the profession by political, economic, technological and social impulses was evident. In 2014, the former Centre for Fashion Studies at the Stockholm College highlighted the problem of a strong dichotomy between theoretical and fashion design courses in fashion design programmes and organised a symposium entitled ‘Fashion Issues: Critical Fashion Studies’. Based on his guidelines, the project ‘Critical Fashion: Reflections in Theory and Practice’ was developed as part of the degree programme at Beckmans College of Design in Stockholm, resulting in a highly discursive internet platform with the symbolic name ‘Critical fashion practice’. The aim of the new approaches was to rethink the importance of theoretical approaches in observing fashion production based on reflection of social relations, media images and personal experiences. This paper analyses the contribution of the platform ‘Critical fashion practice’ in the context of theoretical-practical teaching for fashion design students at the Faculty of Textile Technology, University of Zagreb.

Materialisme Dalam Kajian Ilmu Filsafat

Globalization has a big influence on modern materialism. Living needs are increasing, but income cannot meet them. This is what makes many people take the easy path by making everything legal to fulfill all their wants and needs. This article provides information in the form of a review of materialism in the study of philosophy both in the realms of understanding religion, economics, politics and education. The writing method is carried out by article review. Furthermore, the results obtained show that materialism in religion is motivated by the understanding of God as creator, in economics it shows that economic structure is the basis of every historical movement. The history of fashion is based on the material forces of production and their reciprocal relationships. Then in politics it is proven by a wise attitude full of wisdom in education. Materialization, or the process of making everything materially valuable, has occurred throughout the Indonesian education system.

Influence of Feminism on Fashion in United States of America

Purpose: The study sought to analyze the influence of feminism on fashion in United States of America
 Methodology: The study adopted a desktop methodology. Desk research refers to secondary data or that which can be collected without fieldwork. Desk research is basically involved in collecting data from existing resources hence it is often considered a low cost technique as compared to field research, as the main cost is involved in executive’s time, telephone charges and directories. Thus, the study relied on already published studies, reports and statistics. This secondary data was easily accessed through the online journals and library.
 Findings: The results show that recent fashion history is intertwined with women’s empowerment through the progressive decrease of sexual double standards, which still prevailed at the beginning of the 20th Century. The evolution of fashion has accompanied women’s empowerment, first through functionalizing women’s clothes, then through feminizing the power symbol represented by the male suit. Throughout history, women were not given the autonomy to decide their clothing choices. They were made to wear tight corsets and uncomfortable garments that quite literally put a curb on their movement and symbolically on their freedom.
 Unique Contribution to Theory, Practices and Policies: The Feminist theory and Tickles-across theory may be used to anchor future studies in the fashion sector. The study results will also benefit other stakeholders such as the policy makers as well as researchers and scholars from different parts of the world. The top management of the fashion industries in the country will also use the study findings to improve sociology and ensure high and stable performance in all their activities and programs. The study recommends that the adoption of effective fashion development policies in feminism will help to improve efficiency in their major operations and activities.

Fire on the island: Chester Weinberg and the first generation lost to AIDS

This article looks at the forgotten fashion designer Chester Weinberg, once very famous during his heyday, but then, as one of the first we lost to AIDS, he was stricken from the fashion history books. Through the case of Weinberg, the article examines the effects of AIDS on the fashion industry in the 1980s and early 1990s and consequently on gay culture as a whole during that era. It also uses Fire Island as a microcosmic metonymic of what was happening all across North America. That lush and hedonistic safe haven where ‘people who had felt like outcasts [found] community’ proved to be no match for the onslaught of the virus. As all of the hard-wrought gains of 1970s gay liberation imploded, AIDS devastated the lives of the first generation of truly liberated and free gay men. This article not only eulogizes and returns Weinberg to his deserved place within fashion history but also brings some of those lost pioneering men from Weinberg’s era back into focus again as well, alive again in memory, so that none of them will ever be forgotten.