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At the heart of this anthology lies the world of fashion: a concept that pervades the realm of clothes and dress; appearances and fashionable manners; interior design; ideas and attitudes. Here sixteen papers focus on the Nordic world (Denmark, Norway, Sweden Finland, Iceland, the Faroe Isles and Greenland) within the time frame AD 1500–1850. This was a period of rapid and far-reaching social, political and economic change, from feudal Europe through political revolution, industrialisation, development of international trade, religious upheaval and technological innovation; changes impacting on every aspect of life and reflected in equally rapid and widespread changes in fashion at all levels of society. These papers present a broad image of the theme of fashion as a concept and as an empirical manifestation in the Nordic countries in early modernity, exploring a variety of ways in which that world encountered fashionable impressions in clothing and related aspects of material culture from Europe, the Russian Empire, and far beyond. The chapters range from object-based studies to theory-driven analysis. Elite and sophisticated fashions, the importation of luxuries and fashion garments, christening and bridal wear, silk knitted waistcoats, woollen sweaters and the influence of the whaling trade on women’s clothing are some of the diverse topics considered, as well as religious influences on perceptions of luxury and aspects of the garment trade and merchant inventories.
At the heart of this anthology lies the world of fashion: a concept that pervades the realm of clothes and dress; appearances and fashionable manners; interior design; ideas and attitudes. Here sixteen papers focus on the Nordic world (Denmark, Norway, Sweden Finland, Iceland, the Faroe Isles and Greenland) within the time frame AD 1500–1850. This was a period of rapid and far-reaching social, political and economic change, from feudal Europe through political revolution, industrialisation, development of international trade, religious upheaval and technological innovation; changes impacting on every aspect of life and reflected in equally rapid and widespread changes in fashion at all levels of society. These papers present a broad image of the theme of fashion as a concept and as an empirical manifestation in the Nordic countries in early modernity, exploring a variety of ways in which that world encountered fashionable impressions in clothing and related aspects of material culture from Europe, the Russian Empire, and far beyond. The chapters range from object-based studies to theory-driven analysis. Elite and sophisticated fashions, the importation of luxuries and fashion garments, christening and bridal wear, silk knitted waistcoats, woollen sweaters and the influence of the whaling trade on women’s clothing are some of the diverse topics considered, as well as religious influences on perceptions of luxury and aspects of the garment trade and merchant inventories.
Why is fashion "in fashion" in museums today? This timely volume brings together expert scholars and curators to examine the reasons behind fashion's popularity in the twenty-first century museum and the impact this has had on wider museum practice. Chapters explore the role of fashion in the museum across a range of international case studies including the Costume Institute at the Metropolitan Museum of Art in New York, The Fashion Museum at Bath, ModeMuseum in Antwerp and many more. Contributions look at topics such as how fashion has made museums accessible to diverse audiences and how curators present broader themes and issues such as gender, class and technology innovatively through exhibiting fashion. Drawing on approaches from dress history, fashion studies, museum studies and curatorship, this engaging book will be key reading for students and scholars across a range of disciplines.
The making of fashionable women's dress in Georgian England necessitated an inordinate amount of manual labour. From the mantuamakers and seamstresses who wrought lengths of silk and linen into garments, to the artists and engravers who disseminated and immortalised the resulting outfits in print and on paper, Georgian garments were the products of many busy hands. This Element centres the sartorial hand as a point of connection across the trades which generated fashionable dress in the eighteenth century. Crucially, it engages with recreation methodologies to explore how the agency and skill of the stitching hand can inform understandings of craft, industry, gender, and labour in the eighteenth century. The labour of stitching, along with printmaking, drawing, and painting, composed a comprehensive culture of making and manual labour which, together, constructed eighteenth-century cultures of fashionable dress.
Qing Encounters: Artistic Exchanges between China and the West examines how the contact between China and Europe in the eighteenth and early nineteenth centuries transformed the arts on both sides of the East-West divide. The essays in the volume reveal the extent to which images, artifacts, and natural specimens were traded and copied, and how these materials inflected both cultures’ visions of novelty and pleasure, battle and power, and ways of seeing and representing. Artists and craftspeople on both continents borrowed and adapted forms, techniques, and modes of representation, producing deliberate, meaningful, and complex new creations. By considering this reciprocity from both Eastern and Western perspectives, Qing Encounters offers a new and nuanced understanding of this critical period.
Lieba Faier investigates the processes by which Filipina women who emigrated to work in rural Japan in hostess bars have overcome initial hostilities to become regarded as 'ideal, traditional Japanese brides'. 'Intimate Encounters' shows how changes to culture & identity come about through ordinary interpersonal exchanges.
Dress helps us fashion identity, history, community, and place. Dress has been harnessed as a metaphor for both progress and stability, the exotic and the utopian, oppression and freedom, belonging and resistance. Dressing with Purpose examines three Scandinavian dress traditions—Swedish folkdräkt, Norwegian bunad, and Sámi gákti—and traces their development during two centuries of social and political change across northern Europe. By the 20th century, many in Sweden worried about the ravages of industrialization, urbanization, and emigration on traditional ways of life. Norway was gripped in a struggle for national independence. Indigenous Sámi communities—artificially divided by national borders and long resisting colonial control—rose up in protests that demanded political recognition and sparked cultural renewal. Within this context of European nation-building, colonial expansion, and Indigenous activism, traditional dress took on special meaning as folk, national, or ethnic minority costumes—complex categories that deserve reexamination today. Through lavishly illustrated and richly detailed case studies, Dressing with Purpose introduces readers to individuals who adapt and revitalize dress traditions to articulate who they are, proclaim personal values and group allegiances, strive for sartorial excellence, reflect critically on the past, and ultimately, reshape the societies they live in.
This collection of original essays interrogates disciplinary boundaries in fashion, gathering fashion studies research across disciplines and from around the globe. Fashion and clothing are part of material and visual culture, cultural memory, and heritage; they contribute to shaping the way people see themselves, interact, and consume. For each of the volume’s eight parts, scholars from across the world and a variety of disciplines offer analytical tools for further research. Never neglecting the interconnectedness of disciplines and domains, these original contributions survey specific topics and critically discuss the leading views in their areas. They include discursive and reflective pieces, as well as discussions of original empirical work, and contributors include established leaders in the field, rising stars, and new voices, including practioner and industry voices. This is a comprehensive overview of the field, ideal not only for undergraduate and postgraduate fashion studies students, but also for researchers and students in communication studies, the humanities, gender and critical race studies, social sciences, and fashion design and business.
'Arts in the Margins of World Encounters' presents original contributions that deal with artworks of differently marginalized people—such as ethnic minorities, refugees, immigrants, disabled people, and descendants of slaves—, a wide variety of art forms—like clay figures, textile, paintings, poems, museum exhibits and theatre performances—, and original data based on committed, long-term fieldwork and/or archival research in Brazil, Martinique, Rwanda, India, Indonesia, Japan, Australia, and New Zealand. The volume develops theoretical approaches inspired by innovative theorists and is based on currently debated analytical categories including the ethnographic turn in contemporary art, polycentric aesthetics, and aesthetic cannibalization, among others. This collection also incorporates fascinating and intriguing contemporary cases, but with solid theoretical arguments and grounds. 'Arts in the Margins of World Encounters' will appeal to students at all levels, scholars, and practitioners in arts, aesthetics, anthropology, social inequality, and discrimination, as well as researchers in other fields, including post-colonialism and cultural organizations.
Twenty chapters present the range of current research into the study of textiles and dress in classical antiquity, stressing the need for cross and inter-disciplinarity study in order to gain the fullest picture of surviving material. Issues addressed include: the importance of studying textiles to understand economy and landscape in the past; different types of embellishments of dress from weaving techniques to the (late introduction) of embroidery; the close links between the language of ancient mathematics and weaving; the relationships of iconography to the realities of clothed bodies including a paper on the ground breaking research on the polychromy of ancient statuary; dye recipes and methods of analysis; case studies of garments in Spanish, Viennese and Greek collections which discuss methods of analysis and conservation; analyses of textile tools from across the Mediterranean; discussions of trade and ethnicity to the workshop relations in Roman fulleries. Multiple aspects of the production of textiles and the social meaning of dress are included here to offer the reader an up-to-date account of the state of current research. The volume opens up the range of questions that can now be answered when looking at fragments of textiles and examining written and iconographic images of dressed individuals in a range of media. The volume is part of a pair together with Prehistoric, Ancient Near Eastern and Aegean Textiles and Dress: an interdisciplinary anthology edited by Mary Harlow, C_cile Michel and Marie-Louise Nosch