tag:blogger.com,1999:blog-66515084670764040052024-03-22T00:11:57.845-04:00The Fashion CulturistWhy we wear, what we wear.Khttp://www.blogger.com/profile/13074983081259770408noreply@blogger.comBlogger49125tag:blogger.com,1999:blog-6651508467076404005.post-86771636391154263442010-10-28T15:20:00.003-04:002010-10-28T16:18:25.876-04:00The Advantages and Ethics of Museum Technology<img style="width: 584px; height: 438px;" alt="http://s3.amazonaws.com/sfb111/story_xlimage_2010_09_R5805_japan_fashion_now.jpg" src="http://s3.amazonaws.com/sfb111/story_xlimage_2010_09_R5805_japan_fashion_now.jpg" /><br /><br />Museums have always struggled to compete with the draw of emerging technology. Prior to the internet explosion, objects found in museum collections were once only accessible in two forms: viewed in person, or in print publications. Yet people no longer have to rely on these mediums when websites like Artstor and Wikipedia hold in-depth information at their fingertips. Technology, as always, rapidly changes the ways in which people learn. Is its implementation in exhibitions vital to the survival of museums as we know it?<br /><br />Many institutions are slow to take on new technology for several reasons. Funding is the main issue, but older administrations wish to preserve the traditional sense of museum collections - their physical selves put behind glass or secured displays, to educate and entertain the public. The installation of technology into this arena is a scary feat for those who take care of the same exhibition displays their grandparents enjoyed (a la the American Museum of Natural History). This ethical dilemma, although valid, is hurting arts-related industries around the world.<br /><br />Luckily, visionaries like Valerie Steele at the <a href="http://fitnyc.edu/3662.asp">Museum at FIT</a> have begun to change the way exhibitions serve the public. The latest installment at the New York facility, <a href="http://fitnyc.edu/8726.asp"><span style="font-style: italic;">Japan Fashion Now</span></a>, holds contemporary pieces from Japanese designers ranging from haute couture to streetwear - a brilliant move diversifying the Western sense of Japanese dress. The exhibition design is overwhelming as well. Actual photos taken by Steele's husband on their trip to Japan run floor to ceiling, and are meant to convey a feeling that one is standing in Tokyo's busy metropolis.<br /><br />The most eye-catching feature however, is undoubtedly several high-definition television screens separating each section of the exhibition. These act as didactic labels, inter-spliced with cultural subjects such as language, music videos, interviews and more photos of Japanese fashion. This clear, fast-paced display holds the viewer's interest and allows a plethora of information to be introduced without cluttering the exhibition area.<br /><br /><img style="width: 548px; height: 411px;" alt="http://s3.amazonaws.com/sfb111/story_xlimage_2010_09_R4229_japan_fashion_now.jpg" src="http://s3.amazonaws.com/sfb111/story_xlimage_2010_09_R4229_japan_fashion_now.jpg" /><br /><br />MFIT has also undertaken several web advancements to generate interest and study. Their newest endeavor, an <a href="http://synthescape.com/media/fit/index.html?pano=load_01.xml">interactive website</a> in collaboration with <a href="http://synthescape.com/">Synthescape Art Imaging</a>, creates a competitive edge in the museum PR world. Web surfers can view three objects from the exhibition more intimately than if they were to visit the actual locale. The amazing photographic technology allows visitors to zoom-in incredibly close to view object details (an important aspect of Japanese fashion), both front and back (provided by the rotation button). Not only is the site fun and interesting, but fashion students around the world get a chance to study every stitch, knit and detail of these objects whenever, wherever. <br /><br />Several museums have introduced items like interactive television displays, phone-based audio tours, high-definition films, video/computerized labels and PC education stations, but none that I have been to thus far have melded the relationship together as well as MFIT has. Perhaps it is because technology and Japanese Fashion share the common concept of "cutting edge," but I believe MFIT is on to something here. The needs of museum-goers are quickly changing with every instantaneous internet application that is developed. If they can't compete with home-based art and science education, they might as well join 'em.<br /><br />What are some other examples of the interesting and effective uses of technology in museums? Is this sort of technology suitable for all kinds of exhibitions, or just contemporary-based ones? Should institutions work harder to cater to this age of technology, or are the objects still enough of a draw on their own? I'm highly interested in hearing your thoughts and relevant examples.<br /><br /><span style="font-style: italic;font-size:78%;" >Photos courtesy of <a href="http://www.dnainfo.com/20100917/chelsea-hells-kitchen/chelsea-exhibit-showcases-japanese-fashion-resurgence">DNAinfo: Manhattan Local News</a>.</span>Khttp://www.blogger.com/profile/13074983081259770408noreply@blogger.com1tag:blogger.com,1999:blog-6651508467076404005.post-6847513628419116412010-08-26T21:36:00.003-04:002010-08-26T21:51:38.969-04:00Job Opp: Textile Analyst for the US Government <meta name="Title" content=""> <meta name="Keywords" content=""> <meta equiv="Content-Type" content="text/html; charset=utf-8"> <meta name="ProgId" content="Word.Document"> <meta name="Generator" content="Microsoft Word 2008"> <meta name="Originator" content="Microsoft Word 2008"> <link style="font-family: georgia;" rel="File-List" href="file://localhost/Users/katlapelosa/Library/Caches/TemporaryItems/msoclip/0clip_filelist.xml"> <!--[if gte mso 9]><xml> <o:documentproperties> <o:template>Normal.dotm</o:Template> <o:revision>0</o:Revision> <o:totaltime>0</o:TotalTime> <o:pages>1</o:Pages> <o:words>402</o:Words> <o:characters>2294</o:Characters> <o:company>college of charleston</o:Company> <o:lines>19</o:Lines> <o:paragraphs>4</o:Paragraphs> <o:characterswithspaces>2817</o:CharactersWithSpaces> <o:version>12.256</o:Version> </o:DocumentProperties> <o:officedocumentsettings> <o:allowpng/> </o:OfficeDocumentSettings> </xml><![endif]--><!--[if gte mso 9]><xml> <w:worddocument> <w:zoom>0</w:Zoom> <w:trackmoves>false</w:TrackMoves> <w:trackformatting/> <w:punctuationkerning/> <w:drawinggridhorizontalspacing>18 pt</w:DrawingGridHorizontalSpacing> <w:drawinggridverticalspacing>18 pt</w:DrawingGridVerticalSpacing> <w:displayhorizontaldrawinggridevery>0</w:DisplayHorizontalDrawingGridEvery> <w:displayverticaldrawinggridevery>0</w:DisplayVerticalDrawingGridEvery> <w:validateagainstschemas/> <w:saveifxmlinvalid>false</w:SaveIfXMLInvalid> <w:ignoremixedcontent>false</w:IgnoreMixedContent> <w:alwaysshowplaceholdertext>false</w:AlwaysShowPlaceholderText> <w:compatibility> <w:breakwrappedtables/> <w:dontgrowautofit/> <w:dontautofitconstrainedtables/> <w:dontvertalignintxbx/> </w:Compatibility> </w:WordDocument> </xml><![endif]--><!--[if gte mso 9]><xml> <w:latentstyles deflockedstate="false" latentstylecount="276"> </w:LatentStyles> </xml><![endif]--> <style> <!-- /* Font Definitions */ @font-face {font-family:Cambria; panose-1:2 4 5 3 5 4 6 3 2 4; mso-font-charset:0; mso-generic-font-family:auto; mso-font-pitch:variable; mso-font-signature:3 0 0 0 1 0;} /* Style Definitions */ p.MsoNormal, li.MsoNormal, div.MsoNormal {mso-style-parent:""; margin:0in; margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:Cambria; mso-fareast-theme-font:minor-latin; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} @page Section1 {size:8.5in 11.0in; margin:1.0in 1.25in 1.0in 1.25in; mso-header-margin:.5in; mso-footer-margin:.5in; mso-paper-source:0;} div.Section1 {page:Section1;} --> </style> <!--[if gte mso 10]> <style> /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} </style> <![endif]--> <!--StartFragment--> <p style="font-style: italic;font-family:georgia;" class="MsoNormal"><span style="font-size:85%;">
<br /></span></p><p style="font-family: georgia; font-style: italic; text-align: left;" class="MsoNormal"><img alt="http://media.newjobs.com/opm/js/agency/HSBD/logo1.gif" src="http://media.newjobs.com/opm/js/agency/HSBD/logo1.gif" /></p><p style="font-style: italic;font-family:georgia;" class="MsoNormal"><span style="font-size:85%;">
<br /></span></p><p style="font-style: italic;font-family:georgia;" class="MsoNormal"><span style="font-size:85%;">Although fashion studies may seem like a limited career field, if you are willing to look outside of the box you will find many unique and applicable opportunities. I'm posting this one because I know many people would qualify for it and the benefits are really good.</span></p><p style="font-style: italic;font-family:georgia;" class="MsoNormal"><span style="font-size:85%;">
<br /></span></p> <p style="font-family: georgia; font-weight: bold;" class="MsoNormal"><o:p> </o:p></p> <p class="MsoNormal" style="font-family:georgia;"><span style="font-weight: bold;">Job Title:</span> Textile Analyst</p> <p class="MsoNormal" style="font-family:georgia;"><span style="font-weight: bold;">Department:</span> Department Of Homeland Security</p> <p class="MsoNormal" style="font-family:georgia;"><span style="font-weight: bold;">Agency: </span>Customs and Border Protection</p><p class="MsoNormal" style="font-family:georgia;"><span style="font-weight: bold;">Location: </span>Newark, NJ
<br /></p> <p class="MsoNormal" style="font-family:georgia;"><span style="font-weight: bold;">Job Announcement Number:</span> IHC-376345 BWS DE</p> <p class="MsoNormal" style="font-family:georgia;"><span style="font-weight: bold;">Salary Range:</span> $43,738.00 - $84,146.00 /year.</p><p face="georgia" class="MsoNormal">
<br /></p> <p face="georgia" class="MsoNormal"><o:p> </o:p></p> <p style="font-family: georgia;" class="MsoNormal"><span style="font-weight: bold;">Job Description:</span> You will analyze and test samples of imported textiles, natural and synthetic fibrous products (e.g., flax, polyester) non-fibrous products (e.g., fur, hair, feathers, footwear), and related items submitted in conjunction with regulatory and enforcement activities of the agency. Specifically, you determine the proper approach to the analysis; perform assigned tests on identified samples using wet laboratory procedures or advanced analytical instrumentation; and write reports of findings, interpretations, and conclusions. You will also provide expert advice to other analysts and officials on sampling and instruct other laboratory personnel in analysis techniques. You will attend technical meetings, read relevant reports and publications and may provide technical assistance to U.S. Attorneys preparing court cases. Finally, you may participate in mobile laboratory field operations.</p><p style="font-family: georgia;" class="MsoNormal">
<br /></p> <p style="font-family: georgia;" class="MsoNormal"><o:p> </o:p></p> <p style="font-family: georgia; font-weight: bold;" class="MsoNormal">Basic Requirements:</p> <p style="font-family: georgia;" class="MsoNormal"><o:p> </o:p></p> <p style="font-family: georgia;" class="MsoNormal">A) Successful completion of a full 4-year course of study in an accredited college or university leading to a bachelor's or higher degree that included a major field of study in textile technology.</p><p style="font-family: georgia;" class="MsoNormal">
<br /></p> <p style="font-family: georgia;" class="MsoNormal"><o:p> </o:p></p> <p style="font-family: georgia;" class="MsoNormal">-OR-</p><p style="font-family: georgia;" class="MsoNormal">
<br /></p> <p style="font-family: georgia;" class="MsoNormal"><o:p> </o:p></p> <p style="font-family: georgia;" class="MsoNormal">B) Combination of education and experience -- courses equivalent to a major in textile technology that included at least 20 semester hours in textile technology and closely related subjects, plus appropriate experience or additional education.</p> <p style="font-family: georgia;" class="MsoNormal"><o:p> </o:p></p> <p style="font-family: georgia;" class="MsoNormal">The quality of the combination of education and experience must be sufficient to demonstrate that the applicant possesses the knowledge, skills, and abilities required to perform work in the occupation, and is comparable to that normally acquired through the successful completion of a full 4-year course of study with a major in the appropriate field. In addition to courses in the major and related fields, a typical college degree would have included courses that involved analysis, writing, critical thinking, research, etc. These courses would have provided an applicant with skills and abilities sufficient to perform progressively more responsible work in the occupation. Therefore, creditable experience should have demonstrated similarly appropriate skills or abilities needed to perform the work of the occupation.</p><p style="font-family: georgia;" class="MsoNormal">
<br /></p> <p style="font-family: georgia;" class="MsoNormal"><o:p> </o:p></p> <p style="font-family: georgia;" class="MsoNormal">*YOU MUST BE A CITIZEN OF THE UNITED STATES IN ORDER TO QUALIFY FOR THIS POSITION*</p><p style="font-family: georgia;" class="MsoNormal">
<br /></p><p style="font-family: georgia;" class="MsoNormal">Click <a href="http://jobview.usajobs.gov/GetJob.aspx?JobID=90088477&JobTitle=Textile+Analyst&q=Customs+and+Border+Protection&where=New+York&x=93&y=9&brd=3876&vw=b&FedEmp=N&FedPub=Y&pg=1&rad=20&rad_units=miles&re=0&AVSDM=2010-08-18+08%3a01%3a00">here</a> for more information.
<br /></p><!--EndFragment--> Khttp://www.blogger.com/profile/13074983081259770408noreply@blogger.com0tag:blogger.com,1999:blog-6651508467076404005.post-46954810701377926252010-08-01T12:28:00.003-04:002010-08-01T12:34:37.608-04:00Facial Hair and Hairstyle Evolutions of The BeatlesA friend of mine sent me this cute little time line about the Beatles and their changes in hairstyles over the span of their career. It's accurate for the most part, and incredibly fun to analyze. Enjoy!<br /><br /><img src="http://fc06.deviantart.net/fs70/f/2010/200/0/5/056df2bc40976394c7e1a93ef4afb092.jpg" alt="The History of the Beatles by Hair" /><br /><div style="text-align: center;"><span style="font-size:78%;">From the blog, <a href="http://alligator-sunglasses.com/post/835184764/the-history-of-the-beatles"><span style="font-style: italic;">Alligator Sunglasses</span></a>.</span><br /></div>Khttp://www.blogger.com/profile/13074983081259770408noreply@blogger.com0tag:blogger.com,1999:blog-6651508467076404005.post-18740443468452147612010-07-25T19:50:00.009-04:002010-07-25T21:16:19.990-04:00Textile Science and Friendship Bracelets<div style="text-align: center;"><a name="h1200"><img src="http://www.friendship-bracelets.net/tp/24/3.jpg" style="max-width: 400px; max-height: 400px;" border="0" /></a>
<br /><a name="h1200"></a></div>Arrived home from a trip to Canada on Friday, and although I don't have time for an in-depth post this week, I thought I'd give you all some nice summer "fluff" which, interestingly enough, is quite relevant to my studies in the most fun of ways.
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<br />Friendship bracelets are a traditional summer camp past time. On long bus trips, I usually break out the string box, have the kids pick their co<a name="h1200"></a>lors and either teach them the patterns, or macrame them myself. If it had been any other summer, I wouldn't have regarded the bracelets with any sense of wonder other than "wow, those colors look cool together." A summer after my first year of grad school however, has caused me to examine even something as simple as a Chinese Staircase - how would the great textile scholars classify this adolescent form of art?
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<br />Looking back on my notes and materials, I discovered that these patterns are not woven or knit structures. According to Irene Emery's <meta equiv="Content-Type" content="text/html; charset=utf-8"> <meta name="ProgId" content="Word.Document"> <meta name="Generator" content="Microsoft Word 2008"> <meta name="Originator" content="Microsoft Word 2008"> <link rel="File-List" href="file://localhost/Users/katlapelosa/Library/Caches/TemporaryItems/msoclip/0clip_filelist.xml"> <!--[if gte mso 9]><xml> <o:documentproperties> <o:template>Normal.dotm</o:Template> <o:revision>0</o:Revision> <o:totaltime>0</o:TotalTime> <o:pages>1</o:Pages> <o:words>9</o:Words> <o:characters>54</o:Characters> <o:company>college of charleston</o:Company> <o:lines>1</o:Lines> <o:paragraphs>1</o:Paragraphs> <o:characterswithspaces>66</o:CharactersWithSpaces> <o:version>12.256</o:Version> </o:DocumentProperties> <o:officedocumentsettings> <o:allowpng/> </o:OfficeDocumentSettings> </xml><![endif]--><!--[if gte mso 9]><xml> <w:worddocument> <w:zoom>0</w:Zoom> <w:trackmoves>false</w:TrackMoves> <w:trackformatting/> <w:punctuationkerning/> <w:drawinggridhorizontalspacing>18 pt</w:DrawingGridHorizontalSpacing> <w:drawinggridverticalspacing>18 pt</w:DrawingGridVerticalSpacing> <w:displayhorizontaldrawinggridevery>0</w:DisplayHorizontalDrawingGridEvery> <w:displayverticaldrawinggridevery>0</w:DisplayVerticalDrawingGridEvery> <w:validateagainstschemas/> <w:saveifxmlinvalid>false</w:SaveIfXMLInvalid> <w:ignoremixedcontent>false</w:IgnoreMixedContent> <w:alwaysshowplaceholdertext>false</w:AlwaysShowPlaceholderText> <w:compatibility> <w:breakwrappedtables/> <w:dontgrowautofit/> <w:dontautofitconstrainedtables/> <w:dontvertalignintxbx/> </w:Compatibility> </w:WordDocument> </xml><![endif]--><!--[if gte mso 9]><xml> <w:latentstyles deflockedstate="false" latentstylecount="276"> </w:LatentStyles> </xml><![endif]--> <style> <!-- /* Font Definitions */ @font-face {font-family:Cambria; panose-1:2 4 5 3 5 4 6 3 2 4; mso-font-charset:0; mso-generic-font-family:auto; mso-font-pitch:variable; mso-font-signature:3 0 0 0 1 0;} /* Style Definitions */ p.MsoNormal, li.MsoNormal, div.MsoNormal {mso-style-parent:""; margin:0in; margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:Cambria; mso-fareast-theme-font:minor-latin; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} @page Section1 {size:8.5in 11.0in; margin:1.0in 1.25in 1.0in 1.25in; mso-header-margin:.5in; mso-footer-margin:.5in; mso-paper-source:0;} div.Section1 {page:Section1;} --> </style> <!--[if gte mso 10]> <style> /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} </style> <![endif]--> <!--StartFragment--><a href="http://www.amazon.com/Primary-Structures-Fabrics-Illustrated-Classification/dp/050028802X/ref=sr_1_1?ie=UTF8&s=books&qid=1280105220&sr=8-1"><span style="font-style: italic;">The Primary Structures of Fabrics: An Illustrated Classification</span></a>, macrame consists of "...inter-working the free-hanging elements of a single set into a fabric" it is considered to be inter-knotting, not inter-looping (as in knittin<a name="h1200"></a>g or crochet, which uses a continuous element) or regular weaving. Macrame is also different because it is formed "...by knotting elements round adjacent elements, first to one side and then to the other."<p style="font-family: georgia;" class="MsoNormal">
<br /></p><p style="font-family: georgia;" class="MsoNormal">For those unfamiliar with Emery's work, elements are objects used in the process of weaving, knitting or knotting. Typically these are threads, but can be anything - hair, metals, plants, etc. These often form the base of textiles; things like beads, sequins, and embroidery are considered "applied elements" because they are added post-process <a name="h1200"></a>and are not integral to the weave, knit or knot structure.
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<br />The pattern I use the most often is the Cobra, which happens to be your typical macrame knot all the way through. From this closeup, it is clear how this pattern is inter-knotted, not just looped (as many often think).
<br /><div style="text-align: center;"> <a name="h1000"><img src="http://www.friendship-bracelets.net/tp/24/2.jpg" style="max-width: 400px; max-height: 400px; width: 166px; height: 170px;" border="0" /></a><a name="h1200">
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<br /></a><div style="text-align: left;"><a name="h1200"><span style="font-size:100%;">Friendship bracelet enthusiasts have developed their own patterns very similar to those Emery and her contemporaries use to visually describe structures. Again, knotted and woven patterns should not be confused; rather, these are examples of how people interpret these techniques.
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<br /></span></a><div style="text-align: center;"><a name="h1200"></a></div><a name="h1200"><span style="font-size:100%;"></span></a><div style="text-align: center;"><a name="h1200"><img style="width: 437px; height: 337px;" alt="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi16eIxjAc8oe73BHwf5geYPqJSOuKlP7QqFID5ruttNbIqErZDeR9B9s2xK5Ucqb9l4w_K86TXA4G66gZsZJSeZy_ymh-rrSs6O8x2wiKto0lT_7qZgBENQGdfzzRHy91h0E9QviYkKCDV/s400/Basket+Weave+Chart.jpg" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi16eIxjAc8oe73BHwf5geYPqJSOuKlP7QqFID5ruttNbIqErZDeR9B9s2xK5Ucqb9l4w_K86TXA4G66gZsZJSeZy_ymh-rrSs6O8x2wiKto0lT_7qZgBENQGdfzzRHy91h0E9QviYkKCDV/s400/Basket+Weave+Chart.jpg" />
<br /></a><a href="http://chiknitterguy.blogspot.com/2009_06_01_archive.html"><span style="font-size:78%;"><span style="font-style: italic;">Todd's Knitting Blog</span></span></a>
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<br /><span style="font-size:100%;"> </span><img style="width: 341px; height: 238px;" src="http://www.friendship-bracelets.net/im/gen/normal/10148.gif" />
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<br /><div style="text-align: center;"><a name="h1200"><img style="width: 364px; height: 215px;" alt="http://www.p2pays.org/ref/11/10023/SatinWeavePatterns.gif" src="http://www.p2pays.org/ref/11/10023/SatinWeavePatterns.gif" /><span style="font-size:100%;"> </span></a>
<br /><a name="h1200"></a></div> <div style="text-align: center;"><span style="font-style: italic;font-size:78%;" ><a name="h1200"></a><a href="http://books.google.com/books?id=guVTAAAAMAAJ&q=Corbman+satin+weave&dq=Corbman+satin+weave&hl=en&ei=Zd9MTLCWBIP48Abb_LHXAw&sa=X&oi=book_result&ct=result&resnum=1&ved=0CC4Q6AEwAA"><span style="font-weight: bold;">Fiber to Fabric</span></a> (Potter and Corbman)<span style="font-weight: bold;">.
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<br /><img style="width: 251px; height: 293px;" src="http://www.friendship-bracelets.net/im/gen/normal/9940.gif" />
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<br /><div style="text-align: left;">This is why I love grad school; I readily apply knowledge from the classroom to simple, everyday activities such as making bracelets for campers. I never call them out if I over hear them say "and then you weave it like this" - they are too young to really comprehend the difference. But it does make me feel intelligent to know and recognize the difference (insert smiley emoticon).
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<br /><span style="font-size:78%;"><span style="font-weight: bold;">Further Reading</span></span>
<br /><span style="font-size:78%;">
<br /></span> <meta name="Title" content=""> <meta name="Keywords" content=""> <meta equiv="Content-Type" content="text/html; charset=utf-8"> <meta name="ProgId" content="Word.Document"> <meta name="Generator" content="Microsoft Word 2008"> <meta name="Originator" content="Microsoft Word 2008"> <link style="font-family: georgia;" rel="File-List" href="file://localhost/Users/katlapelosa/Library/Caches/TemporaryItems/msoclip/0/clip_filelist.xml"> <!--[if gte mso 9]><xml> <o:documentproperties> <o:template>Normal.dotm</o:Template> <o:revision>0</o:Revision> <o:totaltime>0</o:TotalTime> <o:pages>1</o:Pages> <o:words>11</o:Words> <o:characters>67</o:Characters> <o:company>college of charleston</o:Company> <o:lines>1</o:Lines> <o:paragraphs>1</o:Paragraphs> <o:characterswithspaces>82</o:CharactersWithSpaces> <o:version>12.256</o:Version> </o:DocumentProperties> <o:officedocumentsettings> <o:allowpng/> </o:OfficeDocumentSettings> </xml><![endif]--><!--[if gte mso 9]><xml> <w:worddocument> <w:zoom>0</w:Zoom> <w:trackmoves>false</w:TrackMoves> <w:trackformatting/> <w:punctuationkerning/> <w:drawinggridhorizontalspacing>18 pt</w:DrawingGridHorizontalSpacing> <w:drawinggridverticalspacing>18 pt</w:DrawingGridVerticalSpacing> <w:displayhorizontaldrawinggridevery>0</w:DisplayHorizontalDrawingGridEvery> <w:displayverticaldrawinggridevery>0</w:DisplayVerticalDrawingGridEvery> <w:validateagainstschemas/> <w:saveifxmlinvalid>false</w:SaveIfXMLInvalid> <w:ignoremixedcontent>false</w:IgnoreMixedContent> <w:alwaysshowplaceholdertext>false</w:AlwaysShowPlaceholderText> <w:compatibility> <w:breakwrappedtables/> <w:dontgrowautofit/> <w:dontautofitconstrainedtables/> <w:dontvertalignintxbx/> </w:Compatibility> </w:WordDocument> </xml><![endif]--><!--[if gte mso 9]><xml> <w:latentstyles deflockedstate="false" latentstylecount="276"> </w:LatentStyles> </xml><![endif]--> <style> <!-- /* Font Definitions */ @font-face {font-family:Cambria; panose-1:2 4 5 3 5 4 6 3 2 4; mso-font-charset:0; mso-generic-font-family:auto; mso-font-pitch:variable; mso-font-signature:3 0 0 0 1 0;} /* Style Definitions */ p.MsoNormal, li.MsoNormal, div.MsoNormal {mso-style-parent:""; margin:0in; margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:Cambria; mso-fareast-theme-font:minor-latin; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} @page Section1 {size:8.5in 11.0in; margin:1.0in 1.25in 1.0in 1.25in; mso-header-margin:.5in; mso-footer-margin:.5in; mso-paper-source:0;} div.Section1 {page:Section1;} --> </style> <!--[if gte mso 10]> <style> /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} </style> <![endif]--> <!--StartFragment--> <p class="MsoNormal" style="font-family:georgia;"><span style="font-size:78%;"><span style="font-style: italic;"></span><span style="font-family:georgia;">Alderman, Sharon. </span><span style="font-style: italic;font-family:georgia;" > <a href="http://www.amazon.com/Mastering-Weave-Structures-Transforming-Ideas/dp/1596681373/ref=sr_1_1?ie=UTF8&s=books&qid=1280105949&sr=1-1">Mastering Weave Structures: Transforming Ideas into Great Cloth</a>.</span>
<br /></span></p><p style="font-family: georgia;" class="MsoNormal"> <meta name="Title" content=""> <meta name="Keywords" content=""> <meta equiv="Content-Type" content="text/html; charset=utf-8"> <meta name="ProgId" content="Word.Document"> <meta name="Generator" content="Microsoft Word 2008"> <meta name="Originator" content="Microsoft Word 2008"> <link style="font-style: italic; font-family: georgia;" rel="File-List" href="file://localhost/Users/katlapelosa/Library/Caches/TemporaryItems/msoclip/0/clip_filelist.xml"> <!--[if gte mso 9]><xml> <o:documentproperties> <o:template>Normal.dotm</o:Template> <o:revision>0</o:Revision> <o:totaltime>0</o:TotalTime> <o:pages>1</o:Pages> <o:words>5</o:Words> <o:characters>31</o:Characters> <o:company>college of charleston</o:Company> <o:lines>1</o:Lines> <o:paragraphs>1</o:Paragraphs> <o:characterswithspaces>38</o:CharactersWithSpaces> <o:version>12.256</o:Version> </o:DocumentProperties> <o:officedocumentsettings> <o:allowpng/> </o:OfficeDocumentSettings> </xml><![endif]--><!--[if gte mso 9]><xml> <w:worddocument> <w:zoom>0</w:Zoom> <w:trackmoves>false</w:TrackMoves> <w:trackformatting/> <w:punctuationkerning/> <w:drawinggridhorizontalspacing>18 pt</w:DrawingGridHorizontalSpacing> <w:drawinggridverticalspacing>18 pt</w:DrawingGridVerticalSpacing> <w:displayhorizontaldrawinggridevery>0</w:DisplayHorizontalDrawingGridEvery> <w:displayverticaldrawinggridevery>0</w:DisplayVerticalDrawingGridEvery> <w:validateagainstschemas/> <w:saveifxmlinvalid>false</w:SaveIfXMLInvalid> <w:ignoremixedcontent>false</w:IgnoreMixedContent> <w:alwaysshowplaceholdertext>false</w:AlwaysShowPlaceholderText> <w:compatibility> <w:breakwrappedtables/> <w:dontgrowautofit/> <w:dontautofitconstrainedtables/> <w:dontvertalignintxbx/> </w:Compatibility> </w:WordDocument> </xml><![endif]--><!--[if gte mso 9]><xml> <w:latentstyles deflockedstate="false" latentstylecount="276"> </w:LatentStyles> </xml><![endif]--> <style> <!-- /* Font Definitions */ @font-face {font-family:Cambria; panose-1:2 4 5 3 5 4 6 3 2 4; mso-font-charset:0; mso-generic-font-family:auto; mso-font-pitch:variable; mso-font-signature:3 0 0 0 1 0;} /* Style Definitions */ p.MsoNormal, li.MsoNormal, div.MsoNormal {mso-style-parent:""; margin:0in; margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:Cambria; mso-fareast-theme-font:minor-latin; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} @page Section1 {size:8.5in 11.0in; margin:1.0in 1.25in 1.0in 1.25in; mso-header-margin:.5in; mso-footer-margin:.5in; mso-paper-source:0;} div.Section1 {page:Section1;} --> </style> <!--[if gte mso 10]> <style> /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} </style> <![endif]--> <!--StartFragment--> </p><p class="MsoNormal" style="font-family:georgia;"><span style="font-size:78%;"><span style="font-style: italic;"></span>Earnshaw, Pat. <span style="font-style: italic;"> <a href="http://www.amazon.com/Identification-Lace-Shire-Library-Earnshaw/dp/0747802378/ref=sr_1_1?ie=UTF8&s=books&qid=1280105593&sr=1-1">Identification of Lace</a></span>. <span style="">
<br /></span></span></p><p class="MsoNormal" style="font-family: georgia;"> <meta name="Title" content=""> <meta name="Keywords" content=""> <meta equiv="Content-Type" content="text/html; charset=utf-8"> <meta name="ProgId" content="Word.Document"> <meta name="Generator" content="Microsoft Word 2008"> <meta name="Originator" content="Microsoft Word 2008"> <link style="font-family: georgia;" rel="File-List" href="file://localhost/Users/katlapelosa/Library/Caches/TemporaryItems/msoclip/0/clip_filelist.xml"> <!--[if gte mso 9]><xml> <o:documentproperties> <o:template>Normal.dotm</o:Template> <o:revision>0</o:Revision> <o:totaltime>0</o:TotalTime> <o:pages>1</o:Pages> <o:words>10</o:Words> <o:characters>60</o:Characters> <o:company>college of charleston</o:Company> <o:lines>1</o:Lines> <o:paragraphs>1</o:Paragraphs> <o:characterswithspaces>73</o:CharactersWithSpaces> <o:version>12.256</o:Version> </o:DocumentProperties> <o:officedocumentsettings> <o:allowpng/> </o:OfficeDocumentSettings> </xml><![endif]--><!--[if gte mso 9]><xml> <w:worddocument> <w:zoom>0</w:Zoom> <w:trackmoves>false</w:TrackMoves> <w:trackformatting/> <w:punctuationkerning/> <w:drawinggridhorizontalspacing>18 pt</w:DrawingGridHorizontalSpacing> <w:drawinggridverticalspacing>18 pt</w:DrawingGridVerticalSpacing> <w:displayhorizontaldrawinggridevery>0</w:DisplayHorizontalDrawingGridEvery> <w:displayverticaldrawinggridevery>0</w:DisplayVerticalDrawingGridEvery> <w:validateagainstschemas/> <w:saveifxmlinvalid>false</w:SaveIfXMLInvalid> <w:ignoremixedcontent>false</w:IgnoreMixedContent> <w:alwaysshowplaceholdertext>false</w:AlwaysShowPlaceholderText> <w:compatibility> <w:breakwrappedtables/> <w:dontgrowautofit/> <w:dontautofitconstrainedtables/> <w:dontvertalignintxbx/> </w:Compatibility> </w:WordDocument> </xml><![endif]--><!--[if gte mso 9]><xml> <w:latentstyles deflockedstate="false" latentstylecount="276"> </w:LatentStyles> </xml><![endif]--> <style> <!-- /* Font Definitions */ @font-face {font-family:Cambria; panose-1:2 4 5 3 5 4 6 3 2 4; mso-font-charset:0; mso-generic-font-family:auto; mso-font-pitch:variable; mso-font-signature:3 0 0 0 1 0;} /* Style Definitions */ p.MsoNormal, li.MsoNormal, div.MsoNormal {mso-style-parent:""; margin:0in; margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:Cambria; mso-fareast-theme-font:minor-latin; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} @page Section1 {size:8.5in 11.0in; margin:1.0in 1.25in 1.0in 1.25in; mso-header-margin:.5in; mso-footer-margin:.5in; mso-paper-source:0;} div.Section1 {page:Section1;} --> </style> <!--[if gte mso 10]> <style> /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} </style> <![endif]--> <!--StartFragment--> </p><p class="MsoNormal"><span style=";font-family:georgia;font-size:78%;" >Watson, William.<span style="font-style: italic;"> <a href="http://www.amazon.com/Watsons-Advanced-Textile-Design-Structures/dp/1855739968/ref=sr_1_1?ie=UTF8&s=books&qid=1280105997&sr=1-1">Advanced Textile Design</a></span>.</span>
<br /><span style=""><span style="font-size:78%;"><span style="font-family:georgia;"> </span></span></span></p><p class="MsoNormal"><span style=""><span style="font-size:78%;"><a href="http://www.friendship-bracelets.net/index.php">Friendship-bracelets.net</a> (just for fun!).</span>
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<br /></div></div><a name="h1200"></a></div></div>Khttp://www.blogger.com/profile/13074983081259770408noreply@blogger.com4tag:blogger.com,1999:blog-6651508467076404005.post-13825837814647883992010-07-09T16:11:00.004-04:002010-07-14T22:39:44.687-04:00Fashion as Art: Footwear Designs of Marloes ten Bhömer<div style="text-align: center;"><img style="width: 269px; height: 358px;" alt="http://www.clebertoledo.com.br/blogs/tendencias/administracao/files/images/marloestenbhomerstudio.jpg" src="http://www.clebertoledo.com.br/blogs/tendencias/administracao/files/images/marloestenbhomerstudio.jpg" /><br /><br /></div>It's been a busy summer so far! I've been non-stop working since the school year ended, with the CSA conference and some of my own independent research churning along (yes, I'm still on the Czech denim kick). It's been a while since I've had the luxury to write a post however, so here is a little something to mull over until I can get back on a normal schedule.<br /><br />One of the reasons I became interested in fashion studies is so that I could explore the divide (or is there one?) between fashion and art. Growing up, I recognized that fashion was a form of art - after all, the methodologies of designers are similar to those of artists. They have inspirations, they sketch or conceptualize their craft and most of all, they <span style="font-style: italic;">create</span>. Yet despite the increase of fashion, dress and textile exhibitions in museums both art historical and non, many people deny fashion as an art form in favor of its capitalistic, seemingly vapid industry image.<br /><br />Guilty as charged, there was a time when I criticized the work of runway couturiers. I couldn't fathom why someone would create an ensemble that couldn't - and wouldn't - be worn by the average person, or even the celebrity at that. But when I looked at each piece like it was a painting or sculpture, it made more sense. Fashion doesn't necessarily have to be worn - it has to be seen, it has to be innovative, and it has to make the viewer think, just like any other work of art.<br /><br />I'm sure I could dedicate another post to theorizing about "what is couture?" - but I won't do that now. However, I would love to bring to light the designs of <a href="http://marloestenbhomer.squarespace.com/marloes-ten-bhomer/">Marloes ten Bhömer</a>, who's pieces blew me away. I'll be the first to admit that I am not "up" on the fashion couture fashion scene, but Bhömer is clearly a woman who can be understood by fashionistas and art enthusiasts alike.<br /><br />Her collection consists mainly of unique shoe designs that challenge the viewer to process the design and wonder, "can people really wear those?" Not to the same extent as Alexander McQueen's outlandishly gawdy <a href="http://www.google.com/imgres?imgurl=http://defiantfashion.com/wp-content/uploads/2010/02/alexander-mcqueen-shoes-2.jpg&imgrefurl=http://defiantfashion.com/2010/02/14/long-live-alexander-mcqueen/&usg=__mTVbqIMUXhxHN7wxmK9Cv_8gsVw=&h=639&w=426&sz=88&hl=en&start=7&sig2=L-40FctW8bjMYh82R9Ykeg&um=1&itbs=1&tbnid=FZRaVrDOdqCIrM:&tbnh=137&tbnw=91&prev=/images%3Fq%3DAlexander%2BMcQueen%2Bshoes%26um%3D1%26hl%3Den%26sa%3DN%26tbs%3Disch:1&ei=Bto3TKucKdOLnAfm0N2mAw">chopine-like footwear</a> - Bhömer uses geometry, physics and utilitarian materials like paper, fiberglass and steel to create shoes that are actually functional and visually captivating. She is constantly experimenting with technology, producing unconventional accessories without overwhelming buyers, curators and the common person.<br /><br />Bhömer, in my opinion, has successfully straddled the line between what makes fashion, fashion, and what makes fashion, art. Below are some of my favorites; I'd love to find more designers like her, so if you know of any good ones, please comment below.<br /><br /><div style="text-align: center;"><img style="cursor: -moz-zoom-out; width: 244px; height: 323px;" alt="http://rathausartprojects.com/blog/wp-content/uploads/2009/05/rotationalmoldedshoes.jpg" src="http://rathausartprojects.com/blog/wp-content/uploads/2009/05/rotationalmoldedshoes.jpg" /><br /><span style="font-size:78%;"><strong style="font-style: italic;">Rotationalmouldedshoe</strong><span style="font-style: italic;">. Materials: Polyurethane rubber and stainless steel</span></span>.<br /><br /><img alt="http://files.brandflakesforbreakfast.com/uploaded_images/shoes-as-art-711840.jpg" src="http://files.brandflakesforbreakfast.com/uploaded_images/shoes-as-art-711840.jpg" /><br /><span style="font-size:78%;"><strong style="font-style: italic;">Noheelsleathershoe</strong><span style="font-style: italic;">. Materials: Leather</span></span>.<br /><br /><span class="outline"></span><img style="cursor: -moz-zoom-out; width: 240px; height: 290px;" alt="http://www.designtavern.com/wp-content/uploads/2009/05/marloes-ten-bhomer-workscarbonfibreshoe.jpg" src="http://www.designtavern.com/wp-content/uploads/2009/05/marloes-ten-bhomer-workscarbonfibreshoe.jpg" /><br /><span style="font-size:78%;"><strong style="font-style: italic;">Carbonfibreshoe #1</strong><span style="font-style: italic;">. Materials: Carbon fibre</span><strong style="font-style: italic;"></strong><span style="font-style: italic;">Shoes constructed from carbon fibre.<br />The heels are placed on the side of the shoe, forcing the weight of the body to distribute of from side to side when walking.</span></span><span style="font-style: italic;font-size:78%;" ><strong></strong></span><br /><br /><span style="font-size:78%;"><span style="font-style: italic;">All photos courtesy of <a href="http://marloestenbhomer.squarespace.com/">marloestenbhomer.squarespace.com</a></span></span><br /></div>Khttp://www.blogger.com/profile/13074983081259770408noreply@blogger.com0tag:blogger.com,1999:blog-6651508467076404005.post-39966372189660943952010-06-17T14:25:00.000-04:002010-06-17T13:30:03.376-04:00CSA Symposium 2010 Criticisms - Do You Agree?<div>I've been non-stop traveling since getting back from the the Costume Society of America's National Symposium, so pardon my erratic posting schedule. Future posts will include inspirations from these trips, but I wanted to address some things I hope will help those interested in attending next year's symposium. I've been in talks with many of the CSA big-wigs so improvements are definitely in the works. And despite these little criticisms, I am actually very much looking forward to next year's conference.<br /><br /><span style="font-weight: bold;">Things I learned:</span><br /><br />-I found it very hard to locate and socialize with fellow students. There is so much we can learn from each other - ways to improve existing programs, exchanging current research interests, even discovering the specialties of their university collections. I also know that student attendance was lower than normal, not only for the symposium but for CSA membership as a whole. This was a concern addressed to me by several CSA members, so it is good to know that they recognize the problem and are working on a solution.</div><ul><li>How to fix this: there needs to be a student committee of some sort. One of the CSA's main goals is to garner new student membership. This can only be done if there is a proactive group dedicated to recruitment and student-related events. Most other organizations have student liasons, and CSA should be no exception. It would be great for next year's conference to have some more student meet-and-greets and excursions. It would also be a great place to mediate student's concerns and needs.</li></ul>-The cost of this conference was inappropriate for these economic times, and definitely not student friendly. This was a major deterrent for many people, who wanted to come to the conference but could not justify the price tag.<br /><ul><li>How to fix this: the cost of the conference basically pays for the use of the venue, along with breakfasts, two lunches, your chance to hear wonderful research and some additional activities. It did NOT include transportation to/from the venue, additional meals, and accommodations, or cultural activities. So it is easy to see why people would decline attending, especially if they are struggling to make ends meet as it is. This can be remedied with a few changes in comfort - find a cheaper venue, with cheaper catering, in a location that is accessible and close to a cultural center. The perfect combination of all these things? A college campus. Housing could be offered in the dorms (most make their students vacate by the time the conference is scheduled) or at a nearby hotel with a shuttle service (for those who seek comfort over quality). Not to mention, it would be a great way to see the campuses and collections of sponsoring cities, because many of the presenters are professors and local museum curators.</li></ul> -In my opinion, it is only worth investing in this conference if you are presenting a paper. Although the research exhibition component is important, participants get hardly any face time because they are placed at the end of the conference, when most people are either leaving or attending concurrent sessions. Also, the annual meeting ran late, giving us only about an hour to discuss our work with those few who were interested in checking out the research exhibitions. I'm glad I got the opportunity to "present" but the amount of time and effort spent on putting it all together didn't feel worth it without criticism from attendees.<ul><li>How to fix this: have the posters up for the entire conference, with special discussion times throughout the schedule. Most events ended at 6pm, there is definitely a lot of time for short chats. The few people who came to the research exhibitions seemed to enjoy the content, and I'm sure that the ones who left would have liked an opportunity to see and discuss them as well.<br /></li></ul>-I could do without Kansas City. The city's layout was very disjointed and there is virtually no public transportation, making outside excursions costly and time-consuming to plan.<br /><ul><li>How to fix this: although regional fairness must be considered, it would have been helpful to have had a tour of the city as an activity, or even a packet of notable sites, places to eat, go dancing, etc. The next two conferences will be in Boston and Atlanta, so attaining these goals will be a little easier. This is not merely a youthful response, either; I ran into many older attendees who wanted to go out, but had no idea as to where to go.</li></ul>For those of you who attended the conference, do you agree/disagree with any of my statements? What do you think were the highs/lows of this year's conference? The members I have been talking to are very concerned with how to improve future symposiums, and all questions and comments are welcome!Khttp://www.blogger.com/profile/13074983081259770408noreply@blogger.com3tag:blogger.com,1999:blog-6651508467076404005.post-6734576577886298402010-06-01T13:32:00.009-04:002010-06-02T00:00:40.665-04:00Brief Course of Events - CSA National Symposium 2010<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisWzmBYga3X4e30fci-hmlVT9pAdQAy8r9et7sok-mf8sfYEw80SBMgvXqAfM_yrTCusEPOjgZzu_MwuCVAF6nDitNI4anZ4hgJ5RHnYWk9IwSCbY6qYftBgiBYxAUXx9rxGws1iYBvGtk/s1600/IMG_1085.JPG"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 366px; height: 274px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisWzmBYga3X4e30fci-hmlVT9pAdQAy8r9et7sok-mf8sfYEw80SBMgvXqAfM_yrTCusEPOjgZzu_MwuCVAF6nDitNI4anZ4hgJ5RHnYWk9IwSCbY6qYftBgiBYxAUXx9rxGws1iYBvGtk/s400/IMG_1085.JPG" alt="" id="BLOGGER_PHOTO_ID_5478020830908949922" border="0" /></a><span>I wanted to give a brief write-up of the Costume Society of American's Annual Symposium, for those of you who were unable to attend. Overall, I'm very pleased to have been in Kansas City for the conference; I met a lot of great people, and had a lot of stimulating conversations with </span>professors, curators and dress enthusiasts. <span>You can read more about who presented and the topics discussed <a href="http://www.costumesocietyamerica.com/natsym.htm">here</a>.<br /></span><span style="font-weight: bold;"><br />Wednesday, May 26th:</span> My first taste of the symposium began with the opening reception. I recognized very few people, but was able to meet and greet the likes of Anne Bissonette and the legendary June Burns Bove, as well as chat with some first timers about their goals, schooling, job offers, etc. I met up with Monica Sklar (editor of the blog <a href="http://www.wornthrough.com/">WornThrough</a>) after the award ceremony, and talked fashion studies with some really cool ladies from the School of the Art Institute of Chicago, who run the <a href="http://www.saic.edu/art_design/special_collections/frc/index.html">Fashion Resource Center</a>. I was inspired by their school's promotion of contemporary fashion and encouragement of their students to touch, drape, and interact with their extensive collection. Something to think about, for future endeavors...<br /><br /><span style="font-weight: bold;">Thursday, May 27th:</span> After breakfast, the juried paper sessions began. I especially liked seeing Monica Sklar's (University of Minnesota) presentation of her research on punk dress in the workplace. She provided a great model for future dress studies, and her presentation layout was also eye-catching and effective. I also really enjoyed an analysis by Kimberly Chrisman-Campbell (Los Angeles County Museum of Art) on a French Revolutionary-era <span style="font-style: italic;">gilet</span> (vest/waistcoat). She presented a lot of interesting research on the fascinating tongue-and-cheek designs of bourgeois fashion.<br /><br />I also attended a professional development seminar based on utilizing primary sources other than extant garments for research purposes. I was interested in this seminar particularly because I do not have access to many existing garments pertaining to my interests. It turned out to be a really enlightening seminar, where attendees shared their knowledge as well as their desire to have researchers come to their institutions. I was glad to hear this, because I've been a bit jaded by the near impossible access to collections in New York City. The fact that there are museums and historic societies that are dying to have people come research their garments makes me feel better about my chosen professional (aka I thought we had to keep our treasures under lock-and-key).<br /><br /><span style="font-weight: bold;">Friday, May 28th: </span> Although I missed out on the Teaching Dress History discussion panel, I was able to catch a few more paper sessions such as Nadine L. Stewart's (FIT) Master's thesis on Millinery life and Clarissa Esguerra's extremely thorough analysis of a dress in LACMA's collection that had been made in the 1830s and then refashioned in the 1840s. I was very impressed by how she was able to recognize the patterns and cuts of the dress and draw her conclusions based on its construction.<br /><br />After lunch I sat in on a concurrent paper session, where I was able to hear Katalin Medvedev's (University of Georgia) field research on grassroots fashion development in Cambodia. It was wonderful to meet her because she has done similar work regarding Communist dress in Hungary. Also during this session were enlightening presentations on progressive fashion photography of the 1930s and 1940s, wardrobe stylists who use original craft techniques for period films, and a biographical "introduction" of Muriel King, a 20th century designer that had been the focus of a senior exhibition at FIT in 2009.<br /><br /><span style="font-weight: bold;">Saturday, May 29th: </span> The day started out with the Stella Blum Student Grant awardee's paper presentation. Katie Knowles, a PhD student at Rice University, did extensive research pertaining to slave clothing in the United States. I was very impressed by her knowledge and the amount of research she was able to uncover because there are so few slave garments available. It was also nice to hear that many of her items came from the Charleston Museum (thanks for helping her out, Jan Hiester!). This grant was definitely well deserved, as "plain" clothing is vastly under researched and hard to find in museum collections.<br /><br />Then came the research exhibitions. I must admit, this was probably the most disappointing part of the entire symposium, even though I was presenting. First of all, the annual meeting ran 15 minutes over schedule, and we only originally had about an hour an a half to display our work. Secondly, they placed the session on the last day, when many people leave the conference. The session also ran concurrently during a seminar hosted by June Burns Bove on dressing mannequins, and come on, you can't compete with Ms. Bove! She's just so fabulous. I was able to interact with a few members who graciously stopped by, but in the end I felt like I had put in a lot of effort for very little face time.<br /><br /><span>Attending this year's symposium made me excited for future CSA events. I look forward to next year's conference in Boston, where I plan on presenting a paper on Douglas Millings, as well as possibly hosting a professional development seminar. My next post will discuss specific critiques of the symposium, as well as new suggestions (from both peers and myself) that may </span>benefit the promotion of the CSA's goals and future endeavors.Khttp://www.blogger.com/profile/13074983081259770408noreply@blogger.com1tag:blogger.com,1999:blog-6651508467076404005.post-50508077569287940892010-05-25T12:09:00.004-04:002010-05-25T13:01:43.366-04:00Follow me on Twitter!<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://twitter.com/FashionCulture"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 299px; height: 199px;" src="http://blog.acm.org/elearn/images/twitter_double_logo.jpg" alt="" border="0" /></a>For those of you on Twitter, I'll be tweeting from the Costume Society of America's National Symposium starting tomorrow, May 26th. Although it's been somewhat taxing these past few weeks, I think overall it's going to be a worthwhile experience.<br /><br />So look out for my updates! You can follow me <a href="http://twitter.com/FashionCulture">here</a>. I'll also be updating for the blog, <a href="http://www.wornthrough.com/">WornThrough</a>. Check out their Twitter <a href="http://twitter.com/WornThrough">here</a>.<br /><br />See you in Kansas City!Khttp://www.blogger.com/profile/13074983081259770408noreply@blogger.com1tag:blogger.com,1999:blog-6651508467076404005.post-88622018535776069262010-05-24T00:49:00.007-04:002010-05-24T15:35:35.190-04:00The New Curatorial Generation: What Do We Need to Know?<div style="text-align: center;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://www.harpersbazaar.com/cm/harpersbazaar/images/FIT%204160.jpg"><img style="cursor: pointer; width: 402px; height: 322px;" src="http://www.harpersbazaar.com/cm/harpersbazaar/images/FIT%204160.jpg" alt="" border="0" /></a><br /></div><div style="text-align: center;"><span style="font-size:78%;"><span style="font-style: italic;">Exhibition case from the 2010 Graduate exhibition, <a href="http://www.harpersbazaar.com/bazaar-blog/FIT-museum-delman-shoes-exhibit">"Scandal Sandals and Lady Slippers: A History of Delman Shoes"</a></span></span><br /></div><br />At FIT, upper level graduate students get the chance to develop and execute an actual exhibition, staged in the graduate galleries at <a href="http://fitnyc.edu/3662.asp">MFIT</a>. This has always been a challenging but rewarding experience, mainly because it is the first time (for many) that students get to put their studies into practice. Students act as curators, conservators, registrars, public relations people, and many other positions that are meant to emulate those available in any given museum setting.<br /><br />I'm excited to see who will serve in each position, because I know our class is strong. I have a few inklings as to who will get what, and I think that those people are very appropriate choices. There are certain jobs which I know I'd be good at because I've done them before, but I'm compelled to apply for a position that would broaden my skill set and make me a more well-rounded job candidate upon graduation.<br /><br />Museums were particularly hit hard by the recession, but employment progress is slowly starting to regain strength. Still, many over qualified people have to fight for small positions that require more responsibility, experience and skill requirements than probably are needed. For example, I've worked in museums before where several jobs were crunched down into one because of budgetary reasons. Having a lot of experience in one field is, of course, beneficial, but anyone who's worked in a museum before can tell you that unless you're at the Met or a Smithsonian institution, a curator is never <span style="font-style: italic;">just </span>a curator.<br /><br />I've interned at the <a href="http://charlestonmuseum.org/topic.asp?id=1">Charleston Museum</a> and the <a href="http://www.nycpolicemuseum.org/">New York City Police Museum</a> and can tell you first hand how many hats a curator can wear. The curator of textiles at the Charleston Museum was also the registrar, and was responsible for designing and installing her own exhibition layouts, ordering supplies, handling and conserving the objects. The collections manager at the NYCPM also worked on the museum's development, archival materials and collections database entries. Most museums don't even have area-specific curators. With this ever shrinking field, we need to be prepared for any task that comes our way.<br /><br />For those of you who currently work or have worked in museums before, what has been your most valuable work-related experience? Are there any positions you particularly enjoyed? And what kinds of new and interesting positions do you foresee developing in the near future? Post your thoughts and advice!Khttp://www.blogger.com/profile/13074983081259770408noreply@blogger.com0tag:blogger.com,1999:blog-6651508467076404005.post-38250154931637899562010-05-18T00:36:00.013-04:002010-05-18T01:34:16.521-04:00Who Dressed The Beatles?: Pierre Cardin, Douglas Millings and the Collarless Suit of the 1960s<div style="text-align: center;"><img style="width: 358px; height: 362px;" alt="http://www.mrpophistory.com/askmrpophistory/wp-content/uploads/2009/10/Dougie-Millings-with-the-Beatles.jpg" src="http://www.mrpophistory.com/askmrpophistory/wp-content/uploads/2009/10/Dougie-Millings-with-the-Beatles.jpg" /><br /><a href="http://www.mrpophistory.com/askmrpophistory/tag/dougie-millings/"><span style="font-style: italic;font-size:78%;" >Douglas Millings with his biggest fans, The Beatles.</span></a><br /></div><p>Below is a little snippet from a paper I just wrote for my History of 20th Century Fashion class. The paper is a comparison of the collarless suits created by Pierre Cardin and Douglas Millings, tailor for The Beatles. In my research I've often come across statements like "Pierre Cardin designed the iconic suits of The Beatles" and that "The Beatles made Pierre Cardin's suit fashionable in the 1960s" but I don't believe that Cardin deserves so much credit for this accomplishment. Although Millings is well known to Beatles fans, he is often only an afterthought when it comes to analysis of Beatles fashion.</p> <p>I've included a section which compares the historical context and designs of the two suits. They are very similar, but I think their differences allot enough distinctive qualities. Let me know what you think...<br /></p><p><span style="font-weight: bold;">SUIT COMPARISONS</span><br /></p> <p>It is important to realize that the collarless suits of Pierre Cardin and those rendered by Douglas Millings are similar, but not identical. It is highly likely that Millings drew his inspiration from Cardin's initial design. However, careful research reveals that the Cylinder style and the suits worn by The Beatles are unique enough to distinguish themselves apart.</p> <p>Cardin's design of the 1960s are the epitome of simplicity. Part of the reason his designs were not favored by the fashion press initially was because they lacked the familiar features of menswear from that time – boxy, rigid jackets, stiff white shirts with angular collars, and broad trousers that were pressed so hard, they gave off the appearance of finely sharpened razor blades.<a href="http://docs.google.com/Doc?id=dd76vvk8_216fzqxdwf6#_edn1" name="_ednref" target="_self" title=""><span class="MsoEndnoteReference">[i]</span></a> These suits of the 1940s and 1950s made young men look old, and old men look even older. This made for an even more apparent contrast between youth dress influenced by the edginess of Rock 'n Roll, and their fathers and grandfathers who still abided by a very formal style of dress.</p> <p>Cardin’s final product was a slim, sleek design which had never been seen before from a menswear couturier. Cardin's models buttoned all five jacket buttons to the neckline, displaying just a peek of their tucked-in shirt collars and straight-form ties. Autumn ensembles were made of corduroy, with one breast pocket and two hip pockets on the jacket, and the spring ensembles were made of cotton, without pockets. The sleeves were purposely cut short to reveal the cuffs of the shirts underneath, highlighting Cardin's penchant for cufflinks.<a href="http://docs.google.com/Doc?id=dd76vvk8_216fzqxdwf6#_edn2" name="_ednref" target="_self" title=""><span class="MsoEndnoteReference">[ii]</span></a> The trousers were pressed, but hung loosely on the hips of the student models.</p> <p style="text-align: left;">Cardin's designs created a balance between the worlds of old and new. Still honoring the art of the tailored suit, he utilized his skills to soften the overall appearance of the male form. By removing bulky embellishments like lapels, tails, collars and cuffs, and tapering the trousers, Cardin created an outfit that literally “suited” a younger, hipper and burgeoning intellectual type of man. By using materials like corduroy and cotton, he also revoked the stereotype that men's clothing should be uncomfortable and stiff – Cardin, always looking to the future, knew that his suit was designed for a progressive generation.</p><p style="text-align: center;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSLNb3zWley9sWNXzoRpVyppVGzMFwKQl8vmhm_wJejstU14NtgWKv91SAaSVmhM2tL20cAr9MDimOSBowkmAUwj9dtDn10oBVip2RAtRkbhxPTT5wiHVo9FsX2nQA7WnDPj2HjK_bERsU/s1600/bt.jpg"><img style="cursor: pointer; width: 191px; height: 418px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgm7nUIl9SzLSXDUO-IcjNCLNJfvfcUK7q5Z6E_e_xZPybPvLgFHCTmmq9Jk0SZ8yKMWIgAb_HwwuhXGUb4gL5B2qSNmIv8Ch5XYLN9afrC0Q2QaLgAfzW-y9JO-HJYLroyzisUTClS4Eux/s400/car.jpg" alt="" id="BLOGGER_PHOTO_ID_5472469492047823842" border="0" /> <img style="cursor: pointer; width: 145px; height: 418px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSLNb3zWley9sWNXzoRpVyppVGzMFwKQl8vmhm_wJejstU14NtgWKv91SAaSVmhM2tL20cAr9MDimOSBowkmAUwj9dtDn10oBVip2RAtRkbhxPTT5wiHVo9FsX2nQA7WnDPj2HjK_bERsU/s400/bt.jpg" alt="" id="BLOGGER_PHOTO_ID_5472469499193349314" border="0" /></a><span style="font-style: italic;font-size:78%;" ><br /></span></p><p style="text-align: center;"><span style="font-style: italic;font-size:78%;" >Cardin's "Cylinder Style" suit (left) and Millings' Beatle suit (right). Notice the differences in design and construction.</span><br /></p><p>Millings too could see this shift in the way the younger generation responded to fashion. Whether or not he studied Cardin's designs intently - or even followed the fashion press at all – is unknown, but he must have been somewhat in-touch with fashion enough to realize that his suits would truly set the standard for menswear of the time. An employee of Millings by the name of Tom Gilbey once remarked, “I think it’s fair to say that they [The Beatles] did steal that look fro Pierre Cardin. But their look did evolve from that.”</p> <p>Millings never (publicly) admitted to where his inspiration came from regarding his collarless suits. In an interview he once said, “…I dreamed up the round-neck collar. I make no claims I invented it, but we did add individual touches - the bell-shaped cuff with the link button; this strange collar with the four buttons.”<a href="http://docs.google.com/Doc?id=dd76vvk8_216fzqxdwf6#_edn3" name="_ednref" target="_self" title=""><span class="MsoEndnoteReference">[iii]</span></a> Indeed, Millings' design was strikingly similar to that of Cardin's. But obvious details make the collarless suit of 1963 different from the collarless suit of 1960.<br /></p> <p>The original suits from DA Millings and Son were made of gray wool mixed with mohair and came in several colors, some of which The Beatles never wore.<a href="http://docs.google.com/Doc?id=dd76vvk8_216fzqxdwf6#_edn4" name="_ednref" target="_self" title=""><span class="MsoEndnoteReference">[iv]</span></a> This material was luxurious but comfortable, durable but flattering and the design proved easy to replicate for Millings once public demand for “Beatle suits” arose. The original suits also had mother-of-pearl buttons, which changed to more conventional materials after Epstein ordered several other sets for the band.<a href="http://docs.google.com/Doc?id=dd76vvk8_216fzqxdwf6#_edn5" name="_ednref" target="_self" title=""><span class="MsoEndnoteReference">[v]</span></a> </p> <p>Millings varied his construction from that of Cardin's suit. The most obvious detail was that he outlined the edges in black piping. The jackets have slit pockets angled at the hips – only some of Cardin’s suits had pockets, and when they did, they were patch-style. Millings’ suits also only have three buttons, which are buttoned to the neck in the same fashion that the Cylinder suits are shown. But the neck of Millings’ suits have an opening that slightly wider in circumference than Cardin's.<a href="http://docs.google.com/Doc?id=dd76vvk8_216fzqxdwf6#_edn6" name="_ednref" target="_self" title=""><span class="MsoEndnoteReference">[vi]</span></a> </p> <p>Millings also beveled the sleeves and added working buttonholes. The back of Millings’ jackets have 2 small, vertical slits that allow for comfort and ease of movement during performances – also a non-constrictive benefit when running from crowds of teenage girls. Scrutinizing these unique details shows that Millings created a “variation on a theme” that proved to be more successful than Cardin’s original designs.</p> <hr style="height: 1px;font-size:78%;" align="left" ><p class="MsoEndnoteText"><span style="font-size:78%;"><a href="http://docs.google.com/Doc?id=dd76vvk8_216fzqxdwf6#_ednref" name="_edn1" target="_self" title=""><span class="MsoEndnoteReference">[i]</span></a> Joshua Sims, <i>Rock Fashion</i>, (London: Omnibus, 1999), 22-23.</span></p><p class="MsoEndnoteText"><span style="font-size:78%;"><a href="http://docs.google.com/Doc?id=dd76vvk8_216fzqxdwf6#_ednref" name="_edn2" target="_self" title=""><span class="MsoEndnoteReference">[ii]</span></a> Richard Morais. <i>Pierre Cardin: The Man Who Became a Label, </i>(Bantam Transworld LTD, 1991), 96-97.</span></p><p class="MsoEndnoteTextCxSpMiddle"><span style="font-size:78%;"><a href="http://docs.google.com/Doc?id=dd76vvk8_216fzqxdwf6#_ednref" name="_edn3" target="_self" title=""><span class="MsoEndnoteReference">[iii]</span></a> Paul Gorman, <i>The Look: Adventures in Pop and Rock Fashion</i>. (London: Sanctuary, 2001).</span></p><p class="MsoEndnoteTextCxSpMiddle"><span style="font-size:78%;"><a href="http://docs.google.com/Doc?id=dd76vvk8_216fzqxdwf6#_ednref" name="_edn4" target="_self" title=""><span class="MsoEndnoteReference">[iv]</span></a> "Liverpool Museums - Beatles Suit." <i>Liverpool Museums - National Museums Liverpool</i>. Web. 12 April 2010. <http: uk="" mol="" exhibitions="" sutcliffe="" asp="">.</http:></span></p><p class="MsoEndnoteText"><span style="font-size:78%;"><a href="http://docs.google.com/Doc?id=dd76vvk8_216fzqxdwf6#_ednref" name="_edn5" target="_self" title=""><span class="MsoEndnoteReference">[v]</span></a> Douglas Martin, “Dougie Millings, 88, the Tailor for the Beatles,” <i>New York Times</i>, October 8, 2001, Obituary section.<a href="http://docs.google.com/Doc?id=dd76vvk8_216fzqxdwf6#_ednref" name="_edn6" target="_self" title=""><span class="MsoEndnoteReference"><br /></span></a></span></p><p class="MsoEndnoteText"><span style="font-size:78%;"><a href="http://docs.google.com/Doc?id=dd76vvk8_216fzqxdwf6#_ednref" name="_edn6" target="_self" title=""><span class="MsoEndnoteReference">[vi]</span></a> Russ W, Lease, "Cardin vs. Millings Paper." Telephone interview. 29 Mar. 2010.</span></p><p class="MsoEndnoteText"> </p><p class="MsoEndnoteText"> </p><p class="MsoEndnoteText"> </p><p class="MsoEndnoteText"> </p><p class="MsoEndnoteText"> </p>Khttp://www.blogger.com/profile/13074983081259770408noreply@blogger.com8tag:blogger.com,1999:blog-6651508467076404005.post-90205461180829278632010-05-06T19:54:00.003-04:002010-05-06T19:57:59.391-04:00Americans in Paris: FIT's Graduate Student SymposiumNo new post for this week, I've got two papers to write this weekend: one on traditional Czech dress under Communism, the other comparing the collarless suits of Pierre Cardin and DA Millings. I've got a good start, but I still have a lot of work to do...<br /><br />Anyway, for those of you in the Tri-State area, please come out and support the graduating MA students from FIT! A few of them are presenting some really cool papers pertaining to fashion correlations between America and Paris. I'll be there, and you should be too!<br /><br />Check out the lineup <a href="http://sites.google.com/site/americansinparisfit/">here.</a>Khttp://www.blogger.com/profile/13074983081259770408noreply@blogger.com0tag:blogger.com,1999:blog-6651508467076404005.post-21914788607365322732010-05-02T19:47:00.002-04:002010-05-02T20:40:08.021-04:00CSA Conference 2010 - Anyone Going?<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://www.wornthrough.com/blog/wp-content/uploads/2010/04/SymLogo.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 450px; height: 252px;" src="http://www.wornthrough.com/blog/wp-content/uploads/2010/04/SymLogo.jpg" alt="" border="0" /></a>As a cross-reference to <a href="http://www.wornthrough.com/2010/04/30/costume-society-in-may-you-going/">Worn Through</a>, who is planning on attending the Costume Society of America's National Symposium this year?<br /><br />This is my first year as a member, and my first year presenting as well (I'm doing a research exhibition on Blue Jean Culture and Transformation in 20th Century Czech History). I know a lot of people who usually attend are not going this year, and to be honest, I'm not very surprised. The location is new for me but doesn't have the same kind of "vacation" attraction appeal that some larger cities do. The overall conference price - even at the discounted student rate - is also a bit of a reach for those suffering from the economic downturn. <br /><br />I plan on tweeting during the conference, so be on the lookout for those updates. I'll be there from Wednesday, May 26th to Saturday, May 29th (my birthday!), presenting that Saturday morning. I'm excited to meet the other members and hopefully stir things up a bit. I've heard from many people that they are looking for ways to build up younger membership, and I've got a few ideas...<br /><br />So, who is going? If you're not going, what has prevented you? I'm willing to address any issues or concerns - from both members and non - with the higher-ups of the CSA. They are no-doubt concerned about this year's low attendance and would welcome any feedback or ideas you have.<br /><br />See you there!Khttp://www.blogger.com/profile/13074983081259770408noreply@blogger.com3tag:blogger.com,1999:blog-6651508467076404005.post-53744729618069880472010-04-29T08:41:00.004-04:002010-04-29T08:50:19.922-04:00Shameless Plug: Americans in Paris: Designers, Buyers, Editors, Photographers, Models and Clients in Paris Fashion<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirmjNFYQqnh-nBgoOzCY3cZadtzb4AsrjmK9MDoSbJNVRxt6DP8pIk1kKcaTfX9OJOzbJs_G-2pJv1rA3SPs4gHIHw4VlgOvYgYSE3D2XMk1LdnmAlIJ2KoyGlWKODxd_r6LJ6cM-3bX04/s1600/Untitled-1.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 306px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirmjNFYQqnh-nBgoOzCY3cZadtzb4AsrjmK9MDoSbJNVRxt6DP8pIk1kKcaTfX9OJOzbJs_G-2pJv1rA3SPs4gHIHw4VlgOvYgYSE3D2XMk1LdnmAlIJ2KoyGlWKODxd_r6LJ6cM-3bX04/s400/Untitled-1.jpg" alt="" id="BLOGGER_PHOTO_ID_5465538963580655570" border="0" /></a><br />The MA program in Fashion and Textile Studies: History, Theory and Museum Practice is hosting their annual Graduate Studies symposium on May 8th, 2010. Each year, the Advanced Professional Seminar class spends a semester researching, writing and planning this unique Fashion Studies event, learning the skills needed to write and present a professional paper in front of an audience. The symposium's theme is generated by exhibitions held at The Museum at FIT; this year, the theme centers around Americans in Paris, coinciding with MFIT's latest exhibition, <span style="font-style: italic;">American Beauty</span>.<br /><br />Many of the presenters are accomplished students at FIT. All have previously worked on the Graduate Studies exhibition on Delman shoes, and many hold internships in costume or conservation institutions around New York. <br /><br />If you are in the New York area, I encourage you to come out on Saturday afternoon for what will be a most enlightening event. The schedule is listed below (click to enlarge it):<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4TxidicWDQAahfuTQ5inw_Y1OqqaLYkhlr1ApkmaU8CeKhel_S2R94wJcD_pffUX0LOCbNX3mvaW93TgrLI7u6g9ncFeJUOCZ1VpzGDq9vIqKo0-SPv9-FPc_kaDvoUidhFD6TPVoaZ49/s1600/Untitled-2.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 278px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4TxidicWDQAahfuTQ5inw_Y1OqqaLYkhlr1ApkmaU8CeKhel_S2R94wJcD_pffUX0LOCbNX3mvaW93TgrLI7u6g9ncFeJUOCZ1VpzGDq9vIqKo0-SPv9-FPc_kaDvoUidhFD6TPVoaZ49/s400/Untitled-2.jpg" alt="" id="BLOGGER_PHOTO_ID_5465538965534168002" border="0" /></a><br />Hope to see you there!!Khttp://www.blogger.com/profile/13074983081259770408noreply@blogger.com0tag:blogger.com,1999:blog-6651508467076404005.post-5382866339397270362010-04-25T21:26:00.012-04:002010-04-25T23:49:44.463-04:00Fashion and Field Work: An Effective Case Study<div style="text-align: center;"><img style="width: 306px; height: 353px;" alt="http://www.esquire.co.uk/wp-content/uploads/2009/08/henry_poole_detail.jpg" src="http://www.esquire.co.uk/wp-content/uploads/2009/08/henry_poole_detail.jpg" /><br /></div><br />I often have conversations with peers about how to garner more credibility for fashion studies. The difficulty lies mainly in the fact that there is little to no "defined" methodology for our field - I've run up against this wall several times during my experiences at school. For example, my approach to fashion studies as an anthropologist is different than, say, a historian, a chemist, even a designer's own approach. Of course, a set methodology takes years to develop and until collaboration between disciplines is more concrete, this goal may be even farther out of reach.<br /><br />In my case, the future of anthropology relies on practicing field work, generally set up within two categories - archaeological, and ethnographic. The latter concerns cultural anthropology, for it is developed based on interactions with and observations of people, not just things and places.<br /><br />Much ethnographic research within the field of fashion studies pertain to indigenous cultures, who's traditional uses of dress are still practiced today. Although intriguing, this research only benefits our understanding of a specific cultural practice, not fashion studies as a whole. In order to legitimize our field, there needs to be a reform in the way ethnographic fashion research is carried out.<br /><br />Frances Ross' field research on the "bespoke" and "demi-bespoke" tailoring industry in present day London is an excellent example of progressive ethnographic research in the field of fashion studies. Utilizing such research approaches as participant observation and qualitative interviewing, Ross (<a href="http://www.fashion.arts.ac.uk/frances-ross.htm">Course Director at the London College of Fashion</a>) investigated "what is currently happening in the industry in terms of textiles, colour, style and manufacture" (Ross, 281). Her article published in <span style="font-style: italic;">The Journal of the Textile Institute </span><span>(2007:i. 98:n. 3)</span> maps out a perfect methodology for future studies that would be taken seriously by any anthropological expert.<br /><br />Ross introduces her topic with a brief history of the London tailoring districts, many of which became subjects of her study. She continues with a list of publications concerning "Men's bespoke and ready-made tailoring texts" to support her project (Ross, 283). Her study rationale explores the concept of "phenomenological research," her decisions to use qualitative over statistical data and a relative definition of ethnography which may not be so easily understood by those outside of the field of anthropology (Ross, 283). She includes her sampling and interview methodology, and provides a chart of participating establishments, their location, date and time of interview and other establishments that were subsequently recommended to her by each interviewee.<br /><br /><div style="text-align: center;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZuTIO6WOItqoLhcvn4qcB-3SDpN6TU2JRxvJlpRQ71grB_UmBmDS887z1Qjw7LWPiXUedajugYBR5nMUbk75HGwGrx3tGOBNbmRgZoN-iyFtw8jKgfCwbTpI3xS_3kBqYi3mCTDd9VQso/s1600/ross.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 490px; height: 212px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZuTIO6WOItqoLhcvn4qcB-3SDpN6TU2JRxvJlpRQ71grB_UmBmDS887z1Qjw7LWPiXUedajugYBR5nMUbk75HGwGrx3tGOBNbmRgZoN-iyFtw8jKgfCwbTpI3xS_3kBqYi3mCTDd9VQso/s400/ross.jpg" alt="" id="BLOGGER_PHOTO_ID_5464275615599459074" border="0" /></a><span style="font-size:78%;">Table 1 from Ross' article,<a href="http://www.informaworld.com/smpp/content%7Econtent=a781799025&db=all"><span style="font-style: italic;"> </span></a></span><a href="http://www.informaworld.com/smpp/content%7Econtent=a781799025&db=all"><span style="font-style: italic;font-size:78%;" >Refashioning London's bespoke and demi-bespoke tailors: new textiles, technology and design in contemporary menswear.</span></a><br /></div><br />A lengthy section is dedicated to actual interview snippets which support her research. The tailors featured discuss topics such as definitions of "New English Tailoring," fabric choice innovations, technological advancements and how they are implemented within the tailoring industry, and stylistic influences upheld by current tailors.<br /><br />Ross' study is intriguing and incredibly well put together. Other similar studies have been attempted but none have resulted in such a smooth presentation as "Refashioning London's Bespoke and Demi-Bespoke Tailors." I'll keep Ross' methodology and approach in mind for future studies. I'm also interested in finding similar studies to keep on hand as examples. I'll be applying for a Fulbright fellowship soon and will need all the polished ethnographic field research I can get!<span class="commentshown" id="posttemplate"><a aiotitle="click to expand" href="javascript:togglecomments('kat')"><br /><span style="font-size:78%;">_____________________</span><span style="font-weight: bold;font-size:78%;" ><br />FURTHER READING</span></a> <div class="commenthidden" id="kat"><p class="MsoNormal"><span style="font-size:78%;"><o:p> </o:p></span></p> <p class="MsoNormal"><span style="font-size:78%;"><o:p> </o:p></span></p> <p class="MsoNormal"><span style="font-size:78%;"><o:p> </o:p></span></p> <p class="MsoNormal"><span style="color: rgb(0, 0, 0);font-family:Times;font-size:78%;" ><o:p> </o:p></span></p> <p class="MsoNormal"><span style="font-size:78%;"><o:p> </o:p></span></p> <p class="MsoNormal"><span style="font-size:78%;"><o:p> </o:p></span></p> <p class="MsoNormal"><span style="font-size:78%;"> </span> </p> <p class="MsoNormal"><span style="font-size:78%;"><o:p> </o:p></span></p> <p class="MsoNormal"><span style=";font-family:Times;font-size:78%;" >Breward, Christopher. "Cultures, Identities, Histories: Fashioning a Cultural Approach to Dress." </span><span style="font-size:78%;"><i style=""><span style="">Fashion Theory: The Journal of Dress, Body & Culture,</span></i></span><span style="font-size:78%;"> 2.4</span></p><p class="MsoNormal"><span style="font-size:78%;">Browne, Ray B. and Pat Browne, Eds.<i style=""> Methodologies in Archeology, Anthropology and other Fields</i>.</span></p><p class="MsoNormal"><span style="font-size:78%;">Geertz, Clifford. <i style="">The Interpretation of Culture: Selected Essays</i>.</span></p><p class="MsoNormal"><span style="font-size:78%;">Gott, Suzanne. "Asante High-timers and the Fashionable Display of Women's Wealth in Contemporary Ghana" </span><span style="font-size:78%;"><i style=""><span style="">Fashion Theory: The Journal of Dress, Body & Culture,</span></i></span><span style="font-size:78%;">13.2</span></p><p class="MsoNormal"><span style="font-size:78%;">Prown, Jules David. “Mind in Matter: An Introduction to Material Culture Theory and Methodology.” <i style="">Winterthur Portfolio</i> 17 (Spring 1982).</span></p> <!--EndFragment--><br /><span style="font-size:12pt;"><o:p></o:p></span> <!--EndFragment--></div></span>Khttp://www.blogger.com/profile/13074983081259770408noreply@blogger.com2tag:blogger.com,1999:blog-6651508467076404005.post-85866138054678041602010-04-20T16:42:00.000-04:002010-04-20T23:46:20.512-04:00Responsible Fashion: Africa<span style=";font-family:georgia;font-size:100%;" ><br /></span><div style="text-align: center;"><img alt="http://www.solsisters.se/globalmamas/gm_7.jpg" src="http://www.solsisters.se/globalmamas/gm_7.jpg" /><br /></div><div style="text-align: center;"><span style="font-style: italic;font-family:georgia;font-size:78%;" >Global Mamas employees pose for a picture during batiking.</span><br /></div><span style=";font-family:georgia;font-size:100%;" ><br />Since entering into the world of fashion studies, I have longed to combine my love for dress with another passion of mine - community outreach. If academic fashion fails me in the end, my backup plan is to establish sustainable, responsible fashion production centers around the world.<br /><br />Time Magazine predicts that "green" technology and various related occupations will pull the world out of this economic rut. But of course, not everyone has the background or capital to start a non-profit from the ground up. That's okay - this is the perfect time to begin supporting fair-trade fashion organizations. Part of contributing to a green economy is by purchasing its products. It is only until people start buying sustainable and fair-trade fashion that it'll make an impact on the entire industry (aka it will get cheaper).<br /><br />To create awareness, I'm going to produce a series of posts dedicated to various geographical regions hosting fair-trade or sustainable fashion and textile production centers. In light of a recent grant I proposed, I'm going to start with Africa.<br /><br /><span style="font-weight: bold;"><span style="font-size:180%;">Global Mamas</span><br /></span></span><img style="width: 214px; height: 313px;" alt="http://farm4.static.flickr.com/3502/3268874293_ced8e9dc01.jpg" src="http://farm4.static.flickr.com/3502/3268874293_ced8e9dc01.jpg" /><br /><span style=";font-family:georgia;font-size:100%;" ><span style="font-weight: bold;">Interns accepted?</span> Yes<br /><span style="font-weight: bold;">Can you visit?</span> Yes. They have workshops in Ghana, including a retail store in Cape Coast. Many fair-trade shops in America host their products.<br /><br /><a href="http://globalmamas.org/">Global Mamas</a> is a subdivision of the Ghanaian non-profit organization, <a href="http://www.womeninprogress.org/">Women in Progress</a>.<span style=""> </span>Founded by Peace Corps volunteers Renea Adam and Kristin Johnson in 2002, Global Mamas has provided opportunities for women to increase their personal revenue and create localized, woman-owned businesses across Africa.<span style=""> </span>Adams and Johnson believe that “helping women gain economic independence is the most effective way to reduce dependence on foreign aid and steadily create a prosperous society.”<br /><br />All Global Mamas products are created by Ghanaian residents in workshops across the country.<span style=""> </span>Traditional methods such as batik, bead making, weaving and soap production are used to create clothing, home goods, jewelry and bath items which are then shipped to fair-trade distributors in Europe and America. <span class="commentshown" id="posttemplate"><a aiotitle="click to expand" href="javascript:togglecomments('kat')">(Click to expand post)</a><br /><div class="commenthidden" id="kat"><br /><br /><span style="font-weight: bold;"><span style="font-size:180%;">SUNO</span><br /></span><img alt="http://kasalina.files.wordpress.com/2009/09/suno1.jpg" src="http://kasalina.files.wordpress.com/2009/09/suno1.jpg" /><span style=";font-family:georgia;font-size:100%;" ><span style="font-weight: bold;"></span><br /><span style="font-weight: bold;">Interns accepted? </span>Unknown.<br /><span style="font-weight: bold;">Can you visit?</span> Generally, yes. Send an inquiry to Max and he can let you know.<br /><br />The success of <a href="http://www.sunony.com/">SUNO</a> is proof that fashion, sustainability, responsibility and fair-trade can work together to create competitive products in a global fashion economy. Max Osterweis, an American designer and film maker, created SUNO after realizing that the textiles he collected on various trips to Kenya could be used to create marketable clothing in the Western fashion industry. Osterweis <span style="">took into account the political and economic situation in Kenya when he began his company, employing locals at workshops in Nairobi and Nakuru. SUNO allows employees to not only showcase their talents and artistry, but provides them with a chance to rebuild themselves financially after recent political unrest decreased capital from foreign tourism.<br /><br />SUNO also utilizes locality on the domestic front as well. All design concepts are conceived in New York City's garment district, where patterns and sample pieces are drawn up and sent back to Kenya for their final construction. NYC's garment district has seen a revival in recent years, with many designers returning back to the area's warehouses to produce clothing and accessories, instead of outsourcing. Osterweis connects charity and couture, spreading awareness of fair-trade practices through his high-end designs.<br /><br /><span style="font-weight: bold;"><span style="font-size:180%;">Amana</span><br /></span></span></span><img style="width: 243px; height: 324px;" alt="http://fairtradelifestyle.files.wordpress.com/2009/04/amana4.jpg" src="http://fairtradelifestyle.files.wordpress.com/2009/04/amana4.jpg" /><span style=";font-family:georgia;font-size:100%;" ><span style=""><span style="font-weight: bold;"></span><br /><span style="font-weight: bold;">Interns accepted?</span> Unknown.<br /><span style="font-weight: bold;">Can you visit? </span>Unknown. Their collection can be purchased online or in stores in the UK.<br /><br /><a href="http://www.amanalondon.com/">Amana's</a> initial philosophy is "to make beautiful clothes with ethical origins and to illustrate that environmentally and socially responsible fashion can equate to exquisite design and quality." Launching their first collection in 2007, London designers Helen Wood and Erin Tabrar employ the services of women from a village called Ain Leuh in the mountains of Morocco to manufacture their designs. They source materials such as organic cottons and silks, and work with companies in the United Kingdom to produce low-impact dyes for their gorgeous collections.<br /><br />The word "Amana" is Arabic for "delivered in trust," a trust that can be upheld through the company's choice of eco-friendly materials and methods of production. They even provide a list of their credentials on their website, to prove their legitimacy and commitment to responsible fashion. They also offer their products at competitive prices, acknowledging the fact that sustainable fashion can only do its job if it is available to the masses, not a privileged few.<br /><br />Please check out these companies, and the role they play in supporting fair-trade practices within the fashion industry. If there are some other companies working in Africa that you know about, please pass them along! I'd love to take a look at them and possibly work with them in the future.<br /></span></span></div></span></span>Khttp://www.blogger.com/profile/13074983081259770408noreply@blogger.com0tag:blogger.com,1999:blog-6651508467076404005.post-8436431497425585672010-04-07T12:36:00.008-04:002010-04-17T19:29:59.476-04:00NYC Fashion Studies Symposiums - A Chance for Collaboration?<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjq3gJpitbFcyuI75B4xBv_AtQyKOC9xUyoV1OdwD4Lf_Qvb8asUOXNNPrUxMyVlfkrIDu7qEMlKZssi6Nf5aMlLqvkePaRpyauarRXVpObxu1Bai54IHKZC3lYfWeu-HJ2CM0sSD4qr3QO/s1600/invite2010-1.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 309px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjq3gJpitbFcyuI75B4xBv_AtQyKOC9xUyoV1OdwD4Lf_Qvb8asUOXNNPrUxMyVlfkrIDu7qEMlKZssi6Nf5aMlLqvkePaRpyauarRXVpObxu1Bai54IHKZC3lYfWeu-HJ2CM0sSD4qr3QO/s400/invite2010-1.jpg" alt="" id="BLOGGER_PHOTO_ID_5461251926002273378" border="0" /></a>Graduate programs across the 5 boroughs have sent out invitations for their end-of-the-year symposiums. It is my goal to attend as many of these as possible, to see what others in the field of costume, fashion and textile studies are up to. Many of these symposiums consist of final-semester student papers, but it does get me wondering - if all of these schools promote their own symposia, is there any chance there could be a city-wide collaboration? It seems silly that I should have to schlep all over town just to hear a few relevant papers at each institution.<br /><div><br />Presenting papers or projects at conferences is vital for scholars of fashion studies. The field's visual nature warrants exposure of intriguing topics. These events build up academic credibility and look fabulous on resumes and CVs. They also allow established experts to provide feedback and/or collaboration, which means support for your research. These experts may also lead you in new directions, such as further education and even occupational opportunities.<br /><br />Of course, academic calendars vary institution to institution, and not every graduate program emphasizes fashion and textiles in their curricula. Even so, there are enough people out there - professors included - that could benefit from mutual exposure in a setting such as a symposium. NYU had four presentations (which were really well done and enlightening!), and there will be six presentations for the symposium at FIT. There are at least three relevant presentations from the Bard Graduate Center's symposium and one from the Cooper-Hewitt/Parsons consortium - and I'm only referring to student works here. That's more than enough people to represent a full-day fashion studies symposium.<br /><br />Time and dedication to organization is most likely the culprit. Any event consumes personal time - something many scholars have little of to begin with. People need enough time to solicit participation, review submissions, find a space, schedule a keynote speaker and formulate some kind of entertainment. There also needs to be a significant budget for renting a space, advertising, publications and refreshments. All of these factors I'm sure have contributed to lack of city-wide university collaboration.<br /><br />Clear notification of events open to public submissions must be established as well. Although the CH/P conference was open to outside participants, I received the invitation two weeks prior to the deadline - whereas those graduate students had about a semester or so to work on their submissions, it gave myself little time to formulate a topic relevant to the theme. Part of the work I do for Worn Through is to sift through websites like H-Net for relevant conferences, and CH/P never appeared until a CH insider sent me the criteria.<br /><br />There has been a lot of animosity between graduate programs lately, which may contribute to the separation of events (although that seems like an immature notion on the academic system's part). Professors wish to exhibit their students in the highest way possible - it looks bad if student representation ratios are uneven, not to mention the intellectual content structures of one institution may be totally different from another. I don't really buy MA-program competition as an excuse for non-collaboration, but I also don't rule it out.<br /><br />For those of you who study/teach in the NYC area, what do you think about the possibility of a combined symposium for those involved in academic fashion studies? This could eliminate the need for separate events, or occur on top of curriculum-based ones. Are there any points I might have left out concerning this topic (aka is this an unrealistic goal?), and most importantly, are there people out there who would be interested in organizing, presenting and attending an event like this?<br /><br />Those from out of state with relevant advice, please chime in as well! I am definitely interested in collaborating a more consistent exposure setting for fashion studies work and a conference - even a small one - sounds like a good idea to me.<br /><br /></div>Khttp://www.blogger.com/profile/13074983081259770408noreply@blogger.com4tag:blogger.com,1999:blog-6651508467076404005.post-64436599124025219882010-04-06T15:35:00.000-04:002010-04-06T01:25:00.042-04:00Scholarly Writing: Primary Sources<div style="text-align: left;"><div style="text-align: center;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjANt_2jaUTI8KG_wo-bhd2x5lfGAjuosbr6wIa-n49tufq0auTZZpZBSTbOmQC_lbQY4F8V2vFH_jwz3U7aTTiENgJXQyn5bL8qKdJgITTl9wHzVu253a06nzhvKbM2NzYpuo1mURddVvI/s1600/gres.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 325px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjANt_2jaUTI8KG_wo-bhd2x5lfGAjuosbr6wIa-n49tufq0auTZZpZBSTbOmQC_lbQY4F8V2vFH_jwz3U7aTTiENgJXQyn5bL8qKdJgITTl9wHzVu253a06nzhvKbM2NzYpuo1mURddVvI/s400/gres.jpg" alt="" id="BLOGGER_PHOTO_ID_5455754708497234898" border="0" /></a><span style="font-size:78%;"><span style="font-style: italic;">Sketch by Madame Gres for Bergdorff Goodman, from FIT Special Collections</span></span><br /></div><span style="font-size:78%;"><span style="font-style: italic;"><br /></span></span>In light of my recent Midterm assignments and spring break <span class="blsp-spelling-corrected" id="SPELLING_ERROR_0">hiatus</span>, I think it's appropriate to dedicate this post to scholarly writing for fashion studies. It's also a personal reminder that I have two research papers due at the end of May...oops.</div><br />Once you've developed your thesis, finding evidence to support your claims is necessary. You may have a brief list of titles or inspirations used to define your topic, but most research papers typically benefit from bibliographies of five pages or more. Seem like a lot? You'd be surprised how much you can find.<br /><br /><span style="font-weight: bold; color: rgb(255, 102, 102);font-size:180%;" >PRIMARY SOURCES</span><br />The easiest way to define a primary source is to figure out the context from which it was written. Is it in first person? Does its words or construction define a time period? Is it a commentary or written from a modern viewpoint?<br /><br />Examples pertinent to the field of fashion studies include:<br /><ul><li><span style="font-weight: bold;">Tangible objects</span> - fashion scholars have the advantage of studying surviving objects in order to support their research in a way that, say, a war historian or a medical anthropologist can not. Looking closely at the cut and construction of an object, analyzing its materials, and researching any distinguishing stamps or labels provides excellent evidence for our field.<br /></li><li><span style="font-weight: bold;">Photographs</span> - these provide <span class="blsp-spelling-corrected" id="SPELLING_ERROR_1">pictorial</span> evidence of garments and accessories as they were meant to be worn. We visually see how a dress falls on the body, the kind of event it would have been worn at, and what types of people it was worn by. They can also be helpful with dating - other objects featured provide clues. Photograph technology - <span class="blsp-spelling-corrected" id="SPELLING_ERROR_2">daguerreotypes</span>, <span class="blsp-spelling-corrected" id="SPELLING_ERROR_3">Polaroids</span>, glossy, etc. - help narrow down time-frames as well.<br /></li><li><span style="font-weight: bold;">Sketches</span> <span style="font-weight: bold;">and Fashion Plates</span> - A sketch or fashion plate can reveal oodles of information. If you are lucky, you'll find a signature of the illustrator, a date, the name of the object, technical notes, etc. Fashion plates, the precursor of fashion magazines, are abundant in many collections. Although human features are often exaggerated, they provide insight as to what was fashionable at the time.<br /></li><li><span style="font-weight: bold;">Newspaper and Magazine Articles</span> - these usually have dates attached to them. Useful for charting the progress of designers, style changes and important events in fashion history.<br /></li><li><span style="font-weight: bold;">Advertisements</span> - ads are great for placing research contextually. Trends, constructions and designs can be dated if they are found within newspapers, magazines, even commercials. You can tell by an ad what kind of audience it is trying to reach, what companies were producing certain styles and who endorsed them.<br /></li><li><span style="font-weight: bold;">Historic Documents</span> - these are most useful for scholars interested in <span class="blsp-spelling-error" id="SPELLING_ERROR_5">pre</span>-modern dress (when actual objects are scarce and photographic evidence does not exist). Many personal accounts, such as Antoine <span class="blsp-spelling-error" id="SPELLING_ERROR_6">Furetière's</span><span style="font-style: italic;"> </span>descriptions of 17th century court dress in <a href="http://collectionsonline.lacma.org/mwebcgi/mweb.exe?request=epage;id=500844"><span style="font-style: italic;">Dictionnaire Universel</span></a>, help historians and theorists "visualize" clothing and accessories. <span class="commentshown" id="posttemplate"><a aiotitle="click to expand" href="javascript:togglecomments('kat')">(Click to expand post)</a></span><br /></li></ul><span class="commentshown" id="posttemplate"><div class="commenthidden" id="kat"><br /><span style="color: rgb(255, 102, 102);">BE WARY OF THESE PRIMARY SOURCES:</span><ul><li><span style="font-weight: bold; color: rgb(0, 0, 0);">Paintings</span><span style="color: rgb(0, 0, 0);"> - although they are the "photographs of the past," paintings are not always historically accurate. This is especially true for commissioned paintings, where the artist was at the mercy of the patron's requests. Many portraits, for example, depict elaborately r</span><span class="blsp-spelling-corrected" id="SPELLING_ERROR_10"><span style="color: rgb(0, 0, 0);">endered textile patterns that may have never existed (ie: the portrait of </span><a href="http://www.wga.hu/frames-e.html?/html/b/bronzino/1/eleonora.html">Eleonara di Toledo and her son</a><span style="color: rgb(0, 0, 0);">, painted by Bronzino, features a dress fabric that was probably inspired by a panel or curtain).</span></span></li><li style="color: rgb(0, 0, 0);"><span style="font-weight: bold;">Diaries/Autobiographies</span> - while these provide wonderful personal insights into the minds of, say, fashion designers and enthusiasts, they have the problem of being biased and/or exaggerated. Personal quotations are better sought out from newspapers or magazines to ensure accuracy of statements and opinions.<br /></li><li style="color: rgb(0, 0, 0);"><span style="font-weight: bold;">Film</span> - some people use movies to study costume, but documentaries because feature real-life representations of how clothing sits on a body, and how it is used in action. Films can be tricky; costumes can be exaggerated or designed with an artistic "vision" in mind. Some costumes are also used based upon what will work for the film, as opposed to what is actually fashionable or regularly worn. Also keep in mind, a film released in 1961 does not necessarily represent 1961 fashions - larger gaps may exist between film production and when it's released to the public. </li><li style="color: rgb(0, 0, 0);"><span style="font-weight: bold;">Novels, poems and songs</span> - although generally fictional, inspiration for these works are can be drawn from feelings for or during a certain time period. However, the way in which an author, poet or song writer uses aesthetic imagery may be allegorical or used to emphasize character qualities, not illustrating what might have actually be worn in the time and place of the literary work. Some descriptions of dress and fashion are sensory and help readers visualize how a garment or accessory would sound, feel, smell, but scholars should always proceed with caution when using them to support a thesis.</li></ul><span style="color: rgb(255, 102, 102);"><span style="color: rgb(255, 102, 102);">PRIMARY SOURCE LOCATIONS:</span><br /><ul style="color: rgb(0, 0, 0);"><li><span style="font-weight: bold;">Museums </span>- most (if not all) museums have some kind of costume or textile collection. If you'd like to look at a garment or accessory up-close, make an appointment. Most museum staff members are happy to accommodate these requests and provide any other information you may need.<br /></li><li><span style="font-weight: bold;">Archives</span> - Photographs, documents, sketches and advertisements (basically anything paper-based) can be found within the archives of a museum, company or private collection. These too are usually appointment-based, however more and more institutions are willing to scan items and send them via email if you know exactly what you are looking for.</li><li><span style="font-weight: bold;">Libraries</span> - many museum, university and local library collections can be accessed by the public. Places like the Library of Congress or the New York Public Library have facsimiles of rare books, manuscripts and scholarly publications that may aid in your research.<br /></li><li><span style="font-weight: bold;">Historic/Personal interest societies</span> - members of these are knowledgeable about their specific topics. You'd be surprised how willing they are to help out! For example, a film society may point you in the right direction when in search of documentaries featuring daywear from the 1950s. An easy <span class="blsp-spelling-error" id="SPELLING_ERROR_11">internet</span> search will bring up this information.</li></ul><span style="color: rgb(0, 0, 0);">The Ohio State University's History program has compiled a </span><a href="http://isthmia.osu.edu/teg/hist787/textiles.htm">list of institutions</a> <span style="color: rgb(0, 0, 0);">with significant costume and textile collections. I suggest bookmarking it for future reference!</span></span></div></span>Khttp://www.blogger.com/profile/13074983081259770408noreply@blogger.com0tag:blogger.com,1999:blog-6651508467076404005.post-80627915632139789072010-03-09T00:50:00.020-05:002010-03-13T20:13:18.882-05:00Photo Essay: Lace in TranslationApologies, dear readers, on last week's lack of post; I was in Philadelphia, PA for the weekend and although I brought my computer intending to update and such, opportunities were scarce to do so. The Mid-Atlantic branch of the Costume Society of America had a nice little get-together Saturday, March 8th, and I enjoyed meeting the other members as Jane Likens, Professor at Philadelphia University, organized a close-up tour of the <a href="http://www.philau.edu/DesignCenter/">Design Center's </a>"Lace in Translation" exhibition followed by a meet-and-greet with Jay McCarroll, Alumni of Philadelphia University and the first winner of Project Runway.<br /><br />The exhibition is really cool and different; as a tribute, I created a photo essay.<br /><span class="commentshown" id="posttemplate"><a aiotitle="click to expand" href="javascript:togglecomments('kat')">CLICK TO OPEN PHOTO ESSAY</a><br /><div class="commenthidden" id="kat"><br /><p><img id="BLOGGER_PHOTO_ID_5447877554621610674" style="margin: 0px auto 10px; display: block; width: 400px; height: 290px; text-align: center;" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhayZXtlsHVtuedcq3_6m0e8eQCV_y-mQiEhrsXbMTG57SkAzewQvrEARHyH6eru3vEa7FDlKTBQnsLvzhYZKHQOw2AL6N3lBgscVTIC7ubneKwG9NlgQOLdKTENbIqm_MIVU9b8QzSpaa-/s400/%5Bmed%5DDemakersvan%2520lace%2520fence2_0.jpg" border="0" />This is actually a photo from the <a href="http://laceintranslation.com/">"Lace in Translation" website</a>. Dutch design house <a href="http://www.demakersvan.com/">Demakersvan</a> (translates simply as "The Makers of...") created this on-site installation and has donated it to the Design Center. It is the first thing one sees as they drive into the Design Center parking lot, and it makes a strong first impression.<br /></p><p><img id="BLOGGER_PHOTO_ID_5446508561972492690" style="margin: 0px auto 10px; display: block; width: 300px; cursor: pointer; height: 400px; text-align: center;" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKjrI8R2z2lPNHTv91YwhRXFTFwxxId-JK3VwM4fuet2kN2M4KGQv_HeWeBHOIFrfUlEhLjdCmgCCiusGYQ_S8FXEr0nX2mPlNIg9tpZyQzskd8BIU28DPj4XQrIg5KkFv1SrrZK9BT02c/s400/IMG_0951.JPG" border="0" />Inside the museum, Dutch artist <a href="http://www.tordboontje.com/">Tord Boontje</a> encapsulates the first room with darkness. Boontje used lace-making techniques with utilitarian materials like this rope to create a seating arrangement. Boontje's inspiration came from an African fable about a Princess who falls in love with a spider. Spiders have long been associated as "Earth weavers and spinners of thread";Boontje's pieces in the black room reflect the complicated yet beautiful nature of arachnid webs.<br /><img id="BLOGGER_PHOTO_ID_5446508570222416962" style="margin: 0px auto 10px; display: block; width: 300px; cursor: pointer; height: 400px; text-align: center;" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg87nvqsOYGvIU5-zo5vzxr49lsrg-SEDmS356P6J3lFdKV5B7-QMJBlpTz6_wW7E7BMKDnvYgvi9BIhVxJ_3SgUM0miDYz8rstxu_uliPp6saKc4agp2MZk7vmSrGBJnOuYBg4SlI9OwRb/s400/IMG_0952.JPG" border="0" /><img id="BLOGGER_PHOTO_ID_5446511869665263490" style="margin: 0px auto 10px; display: block; width: 400px; cursor: pointer; height: 300px; text-align: center;" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWs8XCiwmTs0fK4y3ntRd2RGbxC9F1cKBux-JewK3pR3Z2DM6-AS2K4ZTwci41uD1Kynv6H-kIynY0w3fhP8QYrq67la1U6jgikl9voFLYXu4peJqJ0ajkXWS_Z_RPbQbKQ13XNtmkSUaB/s400/IMG_0997.JPG" border="0" /><img id="BLOGGER_PHOTO_ID_5446511886274245778" style="margin: 0px auto 10px; display: block; width: 400px; cursor: pointer; height: 300px; text-align: center;" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEgBWMnY7mqiRNftKn2Fh2SfeJ8Vu9TcZxNnSZslXS52i483iR9LngiJ_aIUm0o7_XAi1JPLuW_R3N6b_6AgZfxqP4IINo1EYAiMkDRJAw707Z-UIefy1eYiZJzBTq0cFDTme8fmTRQIGX/s400/IMG_1000.JPG" border="0" /><img id="BLOGGER_PHOTO_ID_5446511879210716866" style="margin: 0px auto 10px; display: block; width: 400px; cursor: pointer; height: 300px; text-align: center;" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjfyJyUnztltw9jCM12qLkdy_YIL7wOGoJ5xvGTYwa2yDc7nrhOBMx51bypYcYNXStXT-c2c8yoZ_LHk1dYH6AXTH3r52Nbnd2vAhmPZCLUOQuxBszi66PBZWaD3vokMDv9Gz5BOY8zoqh/s400/IMG_0999.JPG" border="0" /><img id="BLOGGER_PHOTO_ID_5446511860129976786" style="margin: 0px auto 10px; display: block; width: 400px; cursor: pointer; height: 300px; text-align: center;" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMXf-_VddgVJrDUX1X0SGYdDcRr2-eY7GACAw-ulaX29UJFEehxvfnq_CFNYBF5rGKFg6NRynt0jTv8s3l5Ru6UO2ANM-kNDHG1peGRWHcQBZ1jsuh3ljVTNzlCnsJQCioiJ6o5hYnIu5A/s400/IMG_0990.JPG" border="0" /><img id="BLOGGER_PHOTO_ID_5446508578575194834" style="margin: 0px auto 10px; display: block; width: 400px; cursor: pointer; height: 300px; text-align: center;" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUrlKw94T5fYl-wKw73-ExFBtaPhOr0poN7OJUwcUBSrzL1T0uCjfaG9E7t3KgRC_Bq1-sf1BTs9DNAHVIHiB15CbwzjBsvkBSUf3S6bWlLXun4dX1hlwolOUEm0wYmVcMlOcR2yYA9PLk/s400/IMG_0953.JPG" border="0" />The next room is filled with raffia sculpture, utilizing the same concept of lace techniques to create contemporary objects. The raffia connects nature, balance and complication within the theme of "Lace in Translation."</p><p><img id="BLOGGER_PHOTO_ID_5446508586260353506" style="margin: 0px auto 10px; display: block; width: 300px; cursor: pointer; height: 400px; text-align: center;" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjf4x5tUPnsjmQbTu_A0yvtDcxzSqg9w7ON74aCJa_Xk-Sbf3n_e4XE_3WlhQQFhXsKHoZv8rOwZL5dSzc7VHOmaXiiGK_sr5YgD4EqPSxZSjWRSqwdp9hh64YTzuj2db3ed-cKif5KgEGk/s400/IMG_0955.JPG" border="0" />Metal played a large role in the exhibition's overall theme. The idea of welding and cutting such an industrial item to create something as delicately beautiful as lace was a very nouveau concept for me.<img id="BLOGGER_PHOTO_ID_5446508593352871794" style="margin: 0px auto 10px; display: block; width: 400px; cursor: pointer; height: 300px; text-align: center;" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxsbVqnkpfVKuIzWHfsNCxI6rfhoSnex-vUgIDlRy2dydVvYuTuF8hFl9QyWE1iOHFSTljY5MUupfd_mWk6yPBCeQG-Q7_0i1F6PQCHAqjB9xMg2yWaQfjaeKa5wXJZ8qVEAF7nt3nBlwQ/s400/IMG_0957.JPG" border="0" />Lights were inserted into raffia-lace lamps, accentuating the features of the room and creating a sense of warmth lacking in the black room. </p><p><img id="BLOGGER_PHOTO_ID_5446509417129116146" style="margin: 0px auto 10px; display: block; width: 300px; cursor: pointer; height: 400px; text-align: center;" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgA5RZ9-q1V5NH_n3fJgrWM7JFdwYqDkEPleGswJV5l05ct0GBiDIWw1gCG9REWO3z4gdzLxXnF4IkmAhBgmRlWK0ZhheSzTfNJWrOaA4j7Gy1-GQaFAafr6ZRPMDYylkiuqp-JYekEcXIh/s400/IMG_0961.JPG" border="0" /><img id="BLOGGER_PHOTO_ID_5446509423183043810" style="margin: 0px auto 10px; display: block; width: 300px; cursor: pointer; height: 400px; text-align: center;" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-Suo9z0axeWASr4Sh7WWR9g3s6Bu8o2u_3G4Yi6nuQDdtb14HPOXDtZLdRhh7my4AgMJvfv51JoLIXNMIwMXTUH1GTTGx6ztS-geFM2N1v5xyw0T4xYUqg8_nkI_6tAffyJ90qHAsSlUf/s400/IMG_0963.JPG" border="0" />A school-wide call for artists was sent out to help with the construction of the largest raffia-lace piece, strung in front of the window. Students from all backgrounds were involved based on the ambiguity of "construction" - studio art, architecture and fashion design students volunteered their time to make this piece a reality.</p><p><img id="BLOGGER_PHOTO_ID_5446509430189182194" style="margin: 0px auto 10px; display: block; width: 400px; cursor: pointer; height: 300px; text-align: center;" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiArBC_rlSLZh4kuISHg72dneFX5WZiZfK0fVAk-x4I6ET0VsGfA6r7IRb0sq5iFwdHPIpwXx08ObHirNCS3Diai_EMEz6jRAiturv_HvjQgJwq04DC2Tb1xm6oO5GvzH8gesbWlV48y0d2/s400/IMG_0965.JPG" border="0" /><img id="BLOGGER_PHOTO_ID_5446509445812692290" style="margin: 0px auto 10px; display: block; width: 400px; cursor: pointer; height: 300px; text-align: center;" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwMEHGHBJkKxvUEarOmmXvAFmOfKOO7UXcceG9d2GA1AA89_UGbbOsqkgfZmshpMEutrJQtuVWLB6u9Qz1FYSd-RS1mydwN-VcyLAUO0MxzEa61-lPm4Ut0PbEIX5gHfgG7KcJv2aBBqFO/s400/IMG_0973.JPG" border="0" />Models of the lace techniques used on the wall hanging. Some took as many as 40 hours to complete.<br /></p><p><img id="BLOGGER_PHOTO_ID_5446510969297794978" style="margin: 0px auto 10px; display: block; width: 400px; cursor: pointer; height: 300px; text-align: center;" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSWboczTZsaA2AhMZf1_ZZZ9_bg1rv96QvO402dtuspjDEV69xJvT8uz0rjh3VHjwf_wVmUOS20GtEBvZnHdugpBUsWPHq16gTawymdmBmjufcSXUeoQ88LElSdXquKju9sItcJuFEBbjW/s400/IMG_0983.JPG" border="0" /><img id="BLOGGER_PHOTO_ID_5446510977789805810" style="margin: 0px auto 10px; display: block; width: 400px; cursor: pointer; height: 300px; text-align: center;" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO7Y8YQiKZS-TLduVhHn2bQ-OqWDOoE44RSbV4RUx484BFSJ_BLB-XQc6RB7GbGXNj2yGAiZSHaxwd3ALw_nP-b4Xm8uEtcIdl-pmu86fmzIg13T7f2ik8EedtLnmvDrMbOpjKhr3WMSvp/s400/IMG_0984.JPG" border="0" /><img id="BLOGGER_PHOTO_ID_5446510979717332850" style="margin: 0px auto 10px; display: block; width: 400px; cursor: pointer; height: 300px; text-align: center;" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQJq25YJ9-Yvbzu7g-fC4JbGoqFKODcebMaVjyszQ0-XuS2aQkwbdqi8geqc4MpPqmYY3QmmkpZBkFqG9m3JlelAl6PBQ2dG3evN6LcWdVqFdOmZAn5f6fpr5ZAvbfjr_EyaHumToZAKn_/s400/IMG_0986.JPG" border="0" /><img id="BLOGGER_PHOTO_ID_5446509435448946466" style="margin: 0px auto 10px; display: block; width: 300px; cursor: pointer; height: 400px; text-align: center;" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh67Xja4UGZnUA6qm-1S6BmasQ4scPH5j7NAMNfyUXeVeYFaQ_j_9GfyBal6zDWpbfF6d8fxy4flF9j1DU0xyMQurrW_ipaEKD5oTni22s3TPw4TaF4CoX1-62582vy-g_y67J_JRcRA4Zd/s400/IMG_0967.JPG" border="0" />The white room housed prototypes of the black lace couch, along with a display case of raffia jewelry and these hand-stenciled, white bark curtains. It was a bright transition to the outdoor garden where the exhibition continued. </p><p><img id="BLOGGER_PHOTO_ID_5446510966224803234" style="margin: 0px auto 10px; display: block; width: 400px; cursor: pointer; height: 300px; text-align: center;" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaV_5bSRZtaBblBVNIk3UHRHLksdXStRZFZ6OwCdDqDix0jjHavV13jnLJlS1I3OdJfwJYXCWIB2YNb0sz9bXxlKNtC3ydS_ZweBA5u4VD5VsAGkMW4INpOJ6Flyb229elpK73u9qcXCVS/s400/IMG_0980.JPG" border="0" />Canadian artist <a href="http://www.callane.com/">Cal Lane</a> uses welding to provoke new ideas and dimensionalize art from discarded objects such as dumpsters and oil tanks. In warm weather, a fountain surrounded by a pool highlights the barrel's strange beauty.<br /></p><p><img id="BLOGGER_PHOTO_ID_5446510953639404882" style="margin: 0px auto 10px; display: block; width: 400px; cursor: pointer; height: 300px; text-align: center;" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5yBCQIRjmp_3tR3NlJxBsPh_RuI8XPGaqOej4zBGrXU_clKphLTIvTqSYkN5SPMnLxCafuErX50_1tS9W4s467Q7Y4R0tBHaiphTE31Zn7P0brwXizXfoWtSqhWYr_BWJ12wLJlIrRi2-/s400/IMG_0976.JPG" border="0" />These are fragments from the oil barrel welding process, delicately arranged as a large design.<br /></p><p><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiPhBqyNKuRUUYq1z40RbkOyMWD-atP6pZ66R6zL1uh-ONc-RUoMHaiPajsrsZSnIFUGpjC8CK4HAevMFlH2npPG4aq2vmu-GVH2sdPfJBxDEqpIWiJM8yXmERTOgmQNhf7dWuwNASmWgo/s1600-h/IMG_1001.JPG"><img id="BLOGGER_PHOTO_ID_5446511899218332594" style="margin: 0px auto 10px; display: block; width: 400px; cursor: pointer; height: 300px; text-align: center;" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiPhBqyNKuRUUYq1z40RbkOyMWD-atP6pZ66R6zL1uh-ONc-RUoMHaiPajsrsZSnIFUGpjC8CK4HAevMFlH2npPG4aq2vmu-GVH2sdPfJBxDEqpIWiJM8yXmERTOgmQNhf7dWuwNASmWgo/s400/IMG_1001.JPG" border="0" /></a>Lane's inspiration for her oil tank design came from a piece of Quaker lace from the Design Center's collection. It's wonderful to see such a modern execution of an age-old craft.<br /></p>"Lace in Translation" will close on <strong>April 3rd</strong>. Because of budgetary reasons, the University will be closing the Design Center until further notice. This is problematic because many objects are housed in the Design Center and on-campus storage is not easily found. The space is also architecturally important; a wonderful example of 1950s architecture, the former home of Goldie Paley sets a modern backdrop to any exhibit. Without this unique space, the University does not have an opportunity to display its collections, student projects or invited artist works such as those who donated their time to "Lace in Translation. Hopefully the University's administration will realize its importance and continue to produce innovative exhibits in the future. </div></span>Khttp://www.blogger.com/profile/13074983081259770408noreply@blogger.com3tag:blogger.com,1999:blog-6651508467076404005.post-4882064075470681542010-02-28T11:00:00.002-05:002010-03-12T18:01:49.262-05:00Lolita vs. Lolita - Dismissing Sexual Connotations Associated with Japanese Streetwear<div style="TEXT-ALIGN: center"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivFBpZA-nJHuj_1J0mrcogNk81pJqEgeCtsDl1Os_ltCWKOyKj9tNoWrqyoRDpq2UHAnhFHbzuRiaNQpBVbkmVIZvLAm4NliZYNS8jsIyHvxwuYLwPz0i3NRANftsDgUhyphenhyphenB9-xhD9xSHZb/s1600-h/tff28.jpg"><img id="BLOGGER_PHOTO_ID_5443440538793466194" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 257px; CURSOR: pointer; HEIGHT: 400px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivFBpZA-nJHuj_1J0mrcogNk81pJqEgeCtsDl1Os_ltCWKOyKj9tNoWrqyoRDpq2UHAnhFHbzuRiaNQpBVbkmVIZvLAm4NliZYNS8jsIyHvxwuYLwPz0i3NRANftsDgUhyphenhyphenB9-xhD9xSHZb/s400/tff28.jpg" border="0" /></a><span style="FONT-STYLE: italic;font-size:78%;" >Angelic Pretty look, from Tokyo Fashion Festa</span><br /><br /></div>Recently, I was offered the opportunity to model Japanese street fashion in a show called <a href="http://www.fibre2fashion.com/news/fashion-news/newsdetails.aspx?news_id=82093">Tokyo Fashion Festa</a>, held at the <a href="http://fitnyc.edu/3662.asp">Museum at FIT</a>. This show capped off New York Fashion Week but was also a promotional tool for MFIT's exhibit on <a href="http://fitnyc.edu/3452.asp">contemporary Japanese fashion,</a> to be staged in the fall. Japan has always been a place of interest to me, but in the back of my mind because a) it's too expensive to visit on a student budget and b) it's so developed and freakishly beyond my technological comprehension, I think I'd have to spend a lot of time there (not just a week or two) in order to really grasp how their culture relates to their environment.<br /><br />Mixed opinions on the fashions presented raised some questions for me. Some people were fascinated by the layers of clothing, accessories, sparkles and pink displayed (my press on nails were a big hit); others were put off by the seemingly "infantilized" message Lolita clothing sends. "Doesn't it seem odd that a forty-year old woman is dressing like a little girl?" "Don't you think it gives men the idea that it's all right to fantasize about women in such a juvenile way?" "How many pedophiles were in the audience?"<br /><br /><div style="TEXT-ALIGN: center"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhiF3j-gjJeAOD2_T_pllMTPzru_gODHk2u8ODDCd3I32l3N-o16DWL1KPBCZsmyxUSSouFfCd_IUwPqjoE2bhGTzI2nPaZAg61x4yJQiNuWM86hjy5o4OJL2-J-BVgEI31wB1NTUgallm/s1600-h/IMG_0895.JPG"><img id="BLOGGER_PHOTO_ID_5443440862823133170" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 324px; CURSOR: pointer; HEIGHT: 243px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhiF3j-gjJeAOD2_T_pllMTPzru_gODHk2u8ODDCd3I32l3N-o16DWL1KPBCZsmyxUSSouFfCd_IUwPqjoE2bhGTzI2nPaZAg61x4yJQiNuWM86hjy5o4OJL2-J-BVgEI31wB1NTUgallm/s400/IMG_0895.JPG" border="0" /></a><span style="FONT-STYLE: italic;font-size:78%;" >Look at them crazy nails! Like someone glued Lucky Charms onto acrylic tips.</span><br /><br /></div>Ethnocentrism stems from the idea that another culture's practices are wrong in comparison to the practices of your own country. Naturally, people from America would think this style of dress is a bit disturbing, because we don't walk around looking like babies and sexualizing youth.<br /><br />Oh wait, that's not true. Miley Cyrus' 9-year old sister wants to start a lingerie line for children. My 5 year old cousin just bought her first "bra" because everyone else in her kindergarten class has one. I see children dressed better than I do, in mini-skirts and low-cut shirts, tights and Ugg boots, everyday. Tell me that's not disturbing, and I'll let you say whatever you want about the Japanese.<br /><br />So it's important to understand the concept of Lolita fashion, because the claims made above do not fit with its overall philosophy. For starters, Lolita fashion has nothing to do with the novel by Vladimir Nabokov.¹ It is easy to assume the connection because at first glance, the fashion is almost like Westernized role-playing; people get off sexually by dressing up as scantily-clad maids, nurses, businessmen, even full-blown monkey suits. Who's to say that Lolitas don't dress up for the same reason?<br /><br />Yet Lolita followers do quite the opposite, actually - modesty is key, and the aim is not to look "sexy" or "desirable", but to look "cute" "elegant" or "youthful." The Western association with the novel's concept can be explained through the Japanese concept of <i>wasei-eigo</i> or "Japanese-style English" by which there are some words in Japanese do not translate.² This is true for many languages, and is key evidence against any associated sexual connotations...<span class="commentshown" id="posttemplate"><a href="javascript:togglecomments(" aiotitle="click to expand">(click to expand post)</a><br /><div class="commenthidden" id="kat"><br /><br />Lolita fashion actually began as any subcultural trend is conceived - as a reaction. In this case, Lolitas react against the contemporary need to reveal the body as much as possible in order to be considered attractive; in an age where "less is more", Lolitas maintain a Victorian ethos regarding clothing.³ When analyzed carefully, Lolita fashion is not meant to be seductive - most if not all outfits consist of a fully buttoned blouse, pantelets, petticoats, stockings or knee highs and dresses that never traverse above the knee.⁴ It can be argued that there is a subversive side to Lolita style in that "what lies beneath" is alluring and stimulating, but Lolitas in particular disregard those sentiments in favor of what their clothing truly represents.<br /><br /><div style="TEXT-ALIGN: center"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://upload.wikimedia.org/wikipedia/commons/3/33/Gothic_lolita_takeshita_street.jpg"><img style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 304px; CURSOR: pointer; HEIGHT: 492px; TEXT-ALIGN: center" alt="" src="http://upload.wikimedia.org/wikipedia/commons/3/33/Gothic_lolita_takeshita_street.jpg" border="0" /></a><span style="FONT-STYLE: italic;font-size:78%;" >Gothic Lolitas in Japan. <a href="http://commons.wikimedia.org/wiki/Main_Page">Wikipedia Commons</a>.</span><br /><br /></div>I'd gone with a friend to the initial model call for the fashion show, where we were given outfits to try on in lieu of runway walking or posing. I seemed to fit the bill - 5'1", the chubbiness of my youth still visible in my face, chest flat as a pancake - whereas my friend was not cast, despite the fact that she looked <span style="FONT-STYLE: italic">amazing</span> in the outfit the designers chose for her (she rocks the Gothic look).<br /><br />"I saw them whisper something," she told me later on. "I think they said that I was 'too busty.' I mean yeah, the dress looked awesome, but there was no way my 'girls' [breasts] were staying put in that thing."<br /><br />If Lolita fashion's ultimate goal is to seduce through dress, Jessica would have been the first model on the runway. I, on the other hand, am not a desirable object (and I am by no means offended by that) and therefore, I was able to strut the stuff appropriately.<br /><br /><div style="TEXT-ALIGN: center"><div style="TEXT-ALIGN: left">More importantly however, the Japanese do not always associate clothing and sexuality as Westerners do. Japan is known for its androgynous dress practices, as evidenced in their Kabuki theater, history of uniforms , even to the basic design of the kimono. This often confuses Western tourists into thinking that Japanese males are metrosexuals or drag queens.⁵ Accordingly, Lolita fashion is not limited to women. <i>Ōji</i> is known as the male version of Lolita dress, compromising of fashions emulating Victorian boys. Interestingly enough, this style is worn by both men and women, downplaying any associated sexual contexts as well.<sup>6</sup> Many young men adopt Steampunk styles of clothing also, spending as much time perfecting their hair, makeup and accessories as their female counterparts.<br /></div><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://farm4.static.flickr.com/3653/3526286557_32e630ef28.jpg"><img style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 337px; CURSOR: pointer; HEIGHT: 500px; TEXT-ALIGN: center" alt="" src="http://farm4.static.flickr.com/3653/3526286557_32e630ef28.jpg" border="0" /></a><span style="font-size:78%;"><span style="FONT-STYLE: italic">Example of </span><i style="FONT-STYLE: italic">Ōji fashion, <a href="http://www.spookycouture.com/">Spooky Couture.com</a></i><span style="FONT-STYLE: italic">.</span></span><br /></div><br />This quotation from a practicing "Gothic" Lolita has been cited many times, but I think it is a succinct representation that separates this unique fashion culture from associated sexual notions:<br /><span style="font-size:85%;"><br /></span><div style="TEXT-ALIGN: left"><blockquote><span style="font-size:85%;"><em>"We certainly do not do this for the attention of men. In fact, the fashion frequently alienates them. Frequently, female sexuality is portrayed in a way that is palatable and accessible to men, and anything outside of that is intimidating. Something so unabashedly female is ultimately kind of scary—in fact, I consider it to be pretty confrontational. Dressing this way takes a certain kind of ownership of one’s own sexuality that wearing expected or regular things just does not...It’s not, as some commentators have suggested, some sort of appeal to men’s expectation that women should be childlike, or an attempt to pander to pedophiles. Pedophiles like little girls. They don’t like grown women who happen to like dresses with cakes on them. I’ve never been hit on by a pedophile while in Lolita. We don’t get into it because it is some sort of misplaced pedo complex or anything..."<sup>7</sup></em></span></blockquote>Many "looks" lie beneath the umbrella of Lolita fashion, as were portrayed at Tokyo Fashion Festa. There are some sub-fashions that <span style="FONT-STYLE: italic">do </span>base clothing choices<span style="FONT-STYLE: italic"> </span>around promiscuity, but these are definitely the minority. Compared to the Gothic, Punk and Classic Lolitas, as well as the Lolitas who combine their outfits with traditional elements of Asian dress (such as the <span style="FONT-STYLE: italic">Waloli</span> or <span style="FONT-STYLE: italic">Qi</span>), it is easy to see that Lolita fashion is an expression of deeply inert feelings representing personal identity in several forms.<br /><br />I'm surprised that Lolita fashion has not been analyzed by social scientists or fashion theorists in-depthly. There is a lot going on here - gender, power, identification, traditional costume usage, reactionary clothing, etc.- that is worthy of more research in order to be fully understood as well as debunk the myths involved. I scoured the internet for articles or literature but could only find self-published prose by Lolitas or Wikipedia information. Even the newspaper articles I found associated the fashions more with sexuality and less with the actual cultural meanings and reactions originally intended.<br /><br />If you have any further information regarding the role Lolita fashion plays in society and within the wearer, send them my way. I'd love to develop further research and definitely need more reliable sources.<br /></div><br />____________________<br /><span style="font-size:78%;"><span style="FONT-WEIGHT: bold">CITATIONS</span><br /><br /></span><span class="citation web"><span style="font-size:78%;">1</span><span style="font-size:78%;">) Jimenez, Dabrali. <a class="external text" href="http://www.nytimes.com/2008/09/28/nyregion/thecity/28trib.html?_r=2&oref=slogin" rel="nofollow">"A New Generation of Lolitas Makes a Fashion Statement"</a>. <a title="The New York Times" href="http://en.wikipedia.org/wiki/The_New_York_Times">The New York Times</a></span><span class="printonly" style="font-size:78%;">. (26 September 2008).<br /><br />2) Y-N, Ken. </span></span><span style="font-size:78%;"><span class="citation web"><a class="external text" href="http://whatjapanthinks.com/2007/09/24/english-words-but-japanese-meanings/" rel="nofollow">"English words, but Japanese meanings"</a>. <i><a class="external text" href="http://whatjapanthinks.com/" rel="nofollow">What Japan Thinks</a></i>. September 24, 2007<span class="printonly"></span><span class="reference-accessdate">.</span></span><br /><br />3) "Lolita fashion." Wikipedia.org. Link to page <a href="http://en.wikipedia.org/wiki/Lolita_fashion">here</a>.<br /><br />4) "Anatomy of a Lolita Outfit." Lolitafashion.org. Link to page <a href="http://www.lolitafashion.org/anatomy.php">here</a>.<br /><br />5) Robertson, Jennifer. "The Politics of Androgyny in Japan: Sexuality and Subversion in the Theater and Beyond," <cite>American Ethnologist</cite>, Vol. 19, No. 3 (Aug., 1992), pp. 419-442 and </span><span style="font-size:78%;"><span id="btAsinTitle">same author,</span></span><span style="FONT-STYLE: italic;font-size:78%;" ><span id="btAsinTitle"> Takarazuka: Sexual Politics and Popular Culture in Modern Japan</span></span><span style="font-size:78%;">. (University of California Press) 1998.</span><span class="citation web" style="font-size:78%;"><br /><br /></span><span style="font-size:78%;">6) Seagrave, Amber, "Style: <i>Kodona</i>," La Vie en rose, vol.2, p.18<br /></span><span class="citation web" style="font-size:78%;"><br />7) MacDonald, Heidi (1 October 2008). <a class="external text" href="http://pwbeat.publishersweekly.com/blog/2008/10/01/a-gothic-lolita-speaks/" rel="nofollow">"A Gothic Lolita Speaks"</a>. <a title="Publishers Weekly" href="http://en.wikipedia.org/wiki/Publishers_Weekly">Publishers Weekly</a><span class="reference-accessdate">.</span></span><br />____________________<br /><span style="font-size:85%;"><span style="FONT-WEIGHT: bold">Further Reading</span><br /></span><span style="font-size:85%;"><br /></span><div id="titlebar" style="WHITE-SPACE: nowrap"><div id="titlebar"><div id="titlebar" style="WHITE-SPACE: nowrap"><span style="font-size:85%;"><span class="addmd"></span></span><div id="titlebar"><div class="hang"><span style="font-size:85%;">Evers, Izumi, and Patrick Macias. <i style="FONT-WEIGHT: bold">Japanese Schoolgirl Inferno Tokyo Teen Fashion Subculture Handbook</i>. New York: Chronicle, 2007.<br /></span></div><div class="hang"><span style="font-size:85%;"><br />Godoy, Tiffany, and Ivan Vartanian. <i style="FONT-WEIGHT: bold">Japanese Goth: Art and Design</i>. Universe, 2009.<br /></span></div><div class="hang"><span style="font-size:85%;"><br />_________. <i style="FONT-WEIGHT: bold">Style Deficit Disorder Harajuku Street Fashion--Tokyo</i>. New York: Chronicle, 2007.<br /></span></div><div class="hang"><span style="font-size:85%;"><br />Lane, Dakota. <i style="FONT-WEIGHT: bold">Gothic Lolita</i>. New York: Atheneum for Young Readers, 2008.<br /></span></div><div class="hang"><span style="font-size:85%;"><br />McVeigh, Brian J. <i style="FONT-WEIGHT: bold">Wearing Ideology State, Schooling and Self-Presentation in Japan (Dress, Body, Culture)</i>. New York: Berg, 2000.<br /></span></div></div><span style="font-size:85%;"><br /></span></div><span style="font-size:85%;"><br /></span></div></div><span style="font-size:85%;"><br /><br /></span></div></span>Khttp://www.blogger.com/profile/13074983081259770408noreply@blogger.com8tag:blogger.com,1999:blog-6651508467076404005.post-26093650034515009822010-02-19T10:55:00.001-05:002010-02-28T19:51:31.562-05:00Airline Art Shipping Fiasco<div style="text-align: center;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://cool.conservation-us.org/byauth/baughman/slings/fig02_crate.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 266px; height: 337px;" src="http://cool.conservation-us.org/byauth/baughman/slings/fig02_crate.jpg" alt="" border="0" /></a></div><div style="text-align: center;"><span style="font-size:78%;"><span style="font-style: italic;">Blue fur-lined coat during shipment process.</span></span><br /></div><br />According to a recent <a href="http://www.nytimes.com/2010/02/13/arts/design/13transport.html">NYTimes article</a>, airline standards pertaining security handling of art and museum objects will soon become as mainstream as those procedures used to evaluate your (overpriced) checked-luggage.<br /><br />As if the airline isn't in enough trouble budget-wise, officials say that due to rising security threats, museum, gallery and private dealer shipping procedures must be changed. Art handlers and registrars had it relatively simple in terms of sending objects across the country and around the world. Intricate housing of objects occurred prior to being dropped off at the airport, without airline security personnel needing to reopen crates and evaluate package contents.<br /><br />Now however, airline security has the authority to go into a courier package and check for breached items. Although the nation's security is the number one priority, the whole point of packaging a museum or gallery object in the way it is packaged is so that it will not be disturbed or stressed in-transit. Also, arts personnel are trained to unpack valuable objects once their destination is reached - airline personnel, aren't. Placing an object back in its crate even slightly out of place can prove detrimental in the long run. What's more, airline security are not required to fill out condition reports, so if an object is damaged upon arrival, there is no documentation to prove its mishandling.<br /><br />Larger institutions who are fortunate enough to develop travel plans years in advance will not be as affected by these newly implemented measures as smaller museums, galleries and private dealers will be. Many times, priceless artifacts are shipped overnight or the day of an exhibition - these new security plans will certainly present a challenge concerning time management.<br /><br />Object mishandling is a greater threat concerning historic costumes and textiles . Even the least trained of security officials can recognize the fragility of an ancient vase. Society is brought up to disregard the value of clothing however; we fold our clothes, stuff them haphazardly into suitcases, crumple them, place heavy objects over them and even get them dirty when the shampoo bottle accidentally explodes due to cabin pressure - all because clothing is replaceable, clothing is cheap, and clothing is probably the most pliable object carried on board...<span class="commentshown" id="posttemplate"><a aiotitle="click to expand" href="javascript:togglecomments('kat')">(Click here to expand post)</a><br /><div class="commenthidden" id="kat"><br /><br />Thus, I fear for costume and textile museum exportation. To untrained personnel, who's to say they won't treat a rare dress or suit the same as they treat their dirty laundry? A 13th century Nordic weapon is made of materials that hold up well, even under the clumsiest of hands - a 16th century silk gown, already in fragile condition, will crumble under the slightest touch. Registrars pack their possessions with a purpose, recognizing the risks that come with travel. Will these new regulations cause their shipping methods to be all for naught?<br /><br />This is exactly why specialized advanced degree programs began - to train people in the correct handling of garments and rare, fragile pieces of textile art.<br /><br />Perhaps this is one solution to the uneven ratio of trained museum personnel-to-available jobs. It would make sense for airlines to staff one or two skilled art handlers, in order to deal with situations such as this. Conservators and others familiar with artifact housing methods would be able to recognize an object's needs, efficiently check for security breaches and rehouse the object in a timely manner, keeping up to pace with customer security checks occurring simultaneously.<br /><br /><span style="font-style: italic;">Airlines have little money as it is these days, how are they going to hire </span>more<span style="font-style: italic;"> people to work for them?</span> Well, maybe it's the federal government's job to instill a certification and contract system. They could either recruit existing specialists or train new ones to visit facilities before the item is shipped, watch the packing and crating process, and provide official documentation to bypass any further handling until the object has reached its destination.<br /><br />This would be a huge initiative, but would save time, money and damages in the long run. The goal would be to certify personnel already employed by the museum, gallery or private dealer, to avoid contracting costs and ultimately, speed up the process even more.<br /><br />But of course, why would the airline industry do something <span style="font-style: italic;">sensible? </span>They will probably end up charging public and private art industries for this extra (unnecessary) examination...<br /><br />Although national security is top priority, there has to be a better way of handling these procedures. Putting valuable pieces of art into the hands of novices is not the answer. With enough backing from the art industry, I hope these security measures will be regulated enough to ensure the safety and security of not only those flying within the cabin, but below it as well.<br /><span style="font-weight: bold;font-size:78%;" ><br />Photo Credit:</span><br /><span style="font-size:78%;"><span style="font-style: italic;">Blue Velvet Wrapper, in a sling ready for shipping. From Mary C. Baughman's,<a href="http://cool.conservation-us.org/byauth/baughman/slings/index.html"> </a></span></span><a href="http://cool.conservation-us.org/byauth/baughman/slings/index.html"><span style="font-weight: bold; font-style: italic;font-size:78%;" >Slings and Arrows: Safe Costume Transport</span></a></div></span>Khttp://www.blogger.com/profile/13074983081259770408noreply@blogger.com0tag:blogger.com,1999:blog-6651508467076404005.post-10418811891235573442010-02-12T15:04:00.016-05:002010-02-14T19:32:20.981-05:00Battle of the MA Degrees: the Question of Parsons' New Fashion Studies Program<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgk7X2V9Ik4PyfjW64OOETty4e7Hgpkl2Xsb4yDMdbmhH8AKZmoBiBtmEPgKf9PGgYfRc27pEJpZ_ZABFCyypstueDmFuBTo5z5Cxd7JokwT1duUpPP-6sXQpNikT5fHED1sjh93n4YPjVi/s1600-h/Untitled+3.jpeg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 472px; height: 75px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgk7X2V9Ik4PyfjW64OOETty4e7Hgpkl2Xsb4yDMdbmhH8AKZmoBiBtmEPgKf9PGgYfRc27pEJpZ_ZABFCyypstueDmFuBTo5z5Cxd7JokwT1duUpPP-6sXQpNikT5fHED1sjh93n4YPjVi/s400/Untitled+3.jpeg" alt="" id="BLOGGER_PHOTO_ID_5438228027158652210" border="0" /></a><br /><div>First, there was NYU. Then came FIT. A dozen or so other universities have also adapted their curriculum to include courses exposing students to the world of fashion, on a scholarly level. Now Parsons The New School will debut a Master's program in Fashion Studies in Fall 2010 - and it's creating quite a buzz.<br /><br />So far, many outsiders have used the words "competition", "rival" and "copy-cat" in reference to its conception. An upcoming symposium entitled <a href="http://www.newschool.edu/parsons-mfa-fashion-design-society/workwear.html"><span style="font-style: italic;">Workwear</span></a> seems to be the most recent threat to similarly established MA fashion studies programs. With lectures featuring world-renowned designers, conferences exposing the work of fashion studies professionals, and even an exhibit, is there really room for such a specialized program in a developing field?<br /><br />To some, the answer is "no". People studying the cultural side of fashion, museum curatorship, conservation, publishing, and teaching know that the post-grad world is a battlefield. Many jobs are contract or part time, if available at all. What makes Parsons' Fashion Studies program different and unique? What do they think has been lacking from other programs for them to create this new addition in an already concentrated geographic area?<br /></div><div> </div><br /><div>The MA program at FIT in <a href="http://fitnyc.edu/2867.asp">Fashion and Textile Studies: History, Theory and Museum Practice</a> exposes students to conservation and curatorial methodology, with classes in fashion and textile history to round out their experiences. NYU's Visual Studies program focusing on <a href="http://steinhardt.nyu.edu/art/costume">Costume Studies</a> concentrates more on fashion history, culture and theory. Many students from both universities go on to become fashion historians, curators, collections managers, conservators, archivists, teachers and researchers, but both provide different strengths, suiting specific student needs. These differences have allowed the two programs to work harmoniously together for the past twenty or so years, creating cooperative competing for available positions.<br /><br />The conception of Parsons' <a href="http://www.newschool.edu/parsons-ma-fashion-studies/">Fashion Studies MA</a> seems to combine the philosophies of NYU and FIT. According to their curriculum description, the core courses include introductions to fashion history, theory and culture, with electives in museum studies, media studies and culminating in advanced thesis development. There does not seem to be an internship component; there does appear to be increased exposure to professionals affiliated with Parsons, as described in the topics of study (especially as lecturers), and there is a strong emphasis on thesis development. </div><div> </div><br /><div>All in all, it seems that those graduating from Parsons will receive extremely similar training formerly composed by NYU and FIT's Masters programs.<br /><br />How bad is competition when it comes to fashion studies? In a field which struggles to gain acceptance amongst academic society, there is something to be said about establishing similar programs. It provides more opportunities to show the world just how important fashion culture and history really are. By establishing their program, Parsons is adding to a list of reputable universities aiming for the same goal - to be taken seriously as a form of academic study.<br /><br />The Fashion Studies degree will invite more people to study fashion in a scholarly way, increasing the field's credibility, as well as allowing under-researched topics to surface and be explored. The more people become aware of fashion culture, theory and history, the more we can discuss and promote its study. </div><div> </div><br /><div>Not to mention, New York has some of the greatest costume and textile collections in the world. It can't be helped that <a href="http://www.metmuseum.org/works_of_Art/the_costume_institute">The Metropolitan Museum of Art's Costume Institute</a>, the <a href="http://www.cooperhewitt.org/exhibitions/quicktake/rodarte.asp">Cooper-Hewitt's collections and exhibitions</a>, and various designer archives - not forgetting the world renowned Fashion Week(s), leading fashion publications, designer showrooms - are all located in the Big Apple. Even though there are already two Masters programs in New York devoted to a greater understanding of fashion culture, there still is much left to be discovered.</div><div> </div><br /><div>I hope that Parsons will influence fashion studies development in other parts of the United States, however. Programs are slowly creeping into universities in LA, Chicago, Atlanta and Boston, and it will be enlightening to watch them develop over the years.</div><div> </div><br /><div>What do you think of Parsons' new program? I'd be interested to hear your opinions on this hot-button issue, whether you are thinking of applying, how you think it'll stand out from previously established programs, etc. Even though it may pose as a "threat", I think that collaboration will strengthen the world's understand of scholarly fashion, in the long run.<br /><br /></div>Khttp://www.blogger.com/profile/13074983081259770408noreply@blogger.com4tag:blogger.com,1999:blog-6651508467076404005.post-23779912682335245822010-02-05T17:39:00.010-05:002010-02-06T16:39:13.489-05:00Scholarly Writing: Formulating your Topic<div align="center"><a href="http://upload.wikimedia.org/wikipedia/commons/2/21/18th_century_shoes_mules.jpg"><img style="TEXT-ALIGN: center; MARGIN: 0px auto 10px; WIDTH: 442px; DISPLAY: block; HEIGHT: 202px; CURSOR: hand" border="0" alt="" src="http://upload.wikimedia.org/wikipedia/commons/2/21/18th_century_shoes_mules.jpg" /></a> <em><span style="font-size:78%;">Examples of Pantoufles from Boucher's, <strong>La Toilette</strong> (1742)</span></em></div><em><span style="font-size:78%;"></span></em><div align="left"><br />In light of my professors emphasizing the need to start developing our writing and conference presentation skills, I thought it would be helpful to create a regular column devoted to writing for fashion studies. And presenting at conferences is a great way of exposing your work to people who could potentially support it.<br /><br /><span style="font-size:180%;"><span style="color:#ff6666;"><span style="FONT-WEIGHT: bold">CHOOSING A TOPIC</span> (Developing a Thesis)</span><br /></span><br />Some consider this to be the most daunting task of scholarly writing. The more you practice thesis construction however, the easier it becomes to formulate them.<br /><br />First, find something you like, something that has always piqued your interest. It will not only make the process enjoyable and provide motivation for research, but will broaden your knowledge of a subject in a scholarly way.<br /><br />Then try to narrow down the topic as much as you can. As you do so, try and think about if you have come across those ideas before, either in readings, class presentations, etc. Those thoughts will help you ascertain whether or not the topic has been "done" before.<br /><br />For example, say you love shoes. "Shoes" is the broad topic - you can come to something more specific by asking yourself some basics: <span style="FONT-WEIGHT: bold">What</span> <span style="FONT-WEIGHT: bold">kind </span>of shoes are your favorite (platform, stiletto, mule, sneaker...)? <span style="FONT-WEIGHT: bold">Who</span> <span style="FONT-WEIGHT: bold">is your favorite</span> shoe designer or manufacturer (<span id="SPELLING_ERROR_0" class="blsp-spelling-error">Louboutin</span>, <span id="SPELLING_ERROR_1" class="blsp-spelling-error">Choo</span>, Nike...)? <span style="FONT-WEIGHT: bold">If</span><span style="FONT-WEIGHT: bold"> you could go back in time</span> and wear any kind of shoe, when would that be (Victorian, Renaissance, 60s...)? <span style="FONT-WEIGHT: bold">Is there a region</span> of the world that wears an interesting pair of shoes you don't find where you live (Chinese foot binding shoes, Turkish slippers, Inuit Mukluks...)?<br /><br />All right. So you're really interested in 18<span id="SPELLING_ERROR_2" class="blsp-spelling-error">th</span> Century French <span id="SPELLING_ERROR_3" class="blsp-spelling-error">pantoufles</span> - That's a good start. Now start asking yourself questions about the <span style="FONT-WEIGHT: bold">social contexts</span> of the shoes. Who wore them? What role did they play in society? Who made them? What materials were they made out of? How long did that style of shoe last for? Who started the "trend"? What did people think of them at first, and how were they viewed by those who did not wear them?<br /><br />It may also help to ask yourself <span style="FONT-WEIGHT: bold">what else was going on in the world</span> during that time. What wars were <span id="SPELLING_ERROR_4" class="blsp-spelling-corrected">fought</span>? How was trade and commerce handled? What was going on within the government at the time? How were global relations with other countries? These questions help you set a frame for relating fashion to other areas of study, beyond mere aesthetics.<br /><br />So now you would like to write about the role of <span id="SPELLING_ERROR_5" class="blsp-spelling-error">pantoufles</span> during the French Revolutionary War. Perfect. It's specific, and it's contextual.<br /><br />Your next question is, <span style="FONT-WEIGHT: bold">"Has this been done before?"</span> If the answer is "yes", ask, "How can I expand on this idea, what angle can I view it so that the information appears fresh and innovative?" If the answer is "No", that's an easy one - just get cracking!<br /><br />Of course, fashion studies goes beyond just <span id="SPELLING_ERROR_6" class="blsp-spelling-error">socio</span>-historical research. Most areas of social science and the humanities are good places to start (Psychology - "Emotional Responses Regarding <span id="SPELLING_ERROR_7" class="blsp-spelling-error">Pantoufles</span> by Lower Class Members of French Society"; Theology - "Members of the Clergy Who Wore <span id="SPELLING_ERROR_8" class="blsp-spelling-error">Pantoufles</span>"). And don't rule out areas like Economics, Marketing, or Natural Science either - you could do a study about the economic impact of <span id="SPELLING_ERROR_9" class="blsp-spelling-error">pantoufles</span> sales, or look at <span id="SPELLING_ERROR_10" class="blsp-spelling-error">pantoufles</span> construction derived from fiber analysis.<br /><br />Professionals from many fields attend conferences, and are looking to collaborate with you or publish interesting work. New ideas increase your chances for such opportunities; for example, there are a million books and articles about the corset, what makes your research different and desirable?<br /><br />Any research begins with a question, even if it's merely, "Why hasn't this been written about before?" If you've got writer's block, asking questions may lead to the content you're looking for. </div>Khttp://www.blogger.com/profile/13074983081259770408noreply@blogger.com1tag:blogger.com,1999:blog-6651508467076404005.post-45699926796352044882010-02-01T20:12:00.005-05:002010-02-01T20:42:49.666-05:00Fashion Studies Skills 101<div style="text-align: center;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://upload.wikimedia.org/wikipedia/commons/4/4b/Brown_lapin_over_green_wool.JPG"><img style="cursor: pointer; width: 188px; height: 292px;" src="http://upload.wikimedia.org/wikipedia/commons/4/4b/Brown_lapin_over_green_wool.JPG" alt="" border="0" /></a><br /></div><div style="text-align: center; font-style: italic;"><span style="font-size:78%;">An advertisement for a women's rabbit skin coat and a green wool suit, available at Eaton's College Street.</span></div><br />My seconds semester of Grad school beings tomorrow. To help me stay focused this time around, I've made a list...<br /><br /><span style="font-size:130%;"><span style="font-weight: bold;">GOALS FOR THE SPRING:</span></span><br /><br /><span style="font-weight: bold;">1) Start assignments as soon as you are given them. </span><br />I'm no procrastinator. And usually, my projects and papers are finished well before they are due. This year I underestimated my time management abilities and I believe my papers suffered because of it. Knowing the academic standards of my professors also helps, and now I can prepare assignments ahead of time based on the amount of time it takes to put everything together.<br /><br /><span style="font-weight: bold;">2) PRIMARY SOURCES, PRIMARY SOURCES, PRIMARY SOURCES!</span><br />Much of anthropology is based discovering <span style="font-style: italic;">new</span> challenges and theories within cultures, whereas history relies on the<span style="font-style: italic;"> old</span> to enhance what has already been published. AKA before last semester, I never had to actually use primary sources, let alone know where to find them. I'm a little more comfortable with locating resources, but I need to sharpen my sense of smell. I also need to develop a better sense of what constitutes a reliable primary source.<br /><br /><span style="font-weight: bold;">3) Go to more lectures.</span><br />This is something I'm sure many of my schoolmates hope to accomplish this semester. There are so many wonderful (free) lectures in the City that I need to start taking advantage of. My schedule is more open this semester and hopefully I'll be more energized than I was last semester (I only have to wake up at 6am for one day!)<br /><br /><span style="font-weight: bold;">4) Dress better.</span><br />I believe that going to a fashion-related school means identity development via clothing is essential. How are people supposed to take me seriously in this field when I look like a garbage dump? In such a visual culture, a signature style is key. Expect to see fewer jeans and better kept hair.<br /><br />If you are in school, what are some of your goals this year? What have you learned to do this time around that you wish you had known before?<br /><br />Even if you're not studying, there may be things you hope to accomplish within the realm of fashion studies. Mentioning them might be helpful to others.Khttp://www.blogger.com/profile/13074983081259770408noreply@blogger.com0tag:blogger.com,1999:blog-6651508467076404005.post-87107976783686449822010-01-25T16:58:00.012-05:002010-01-29T20:41:53.428-05:00Male Corsetry: a Contemporary Introduction<div style="text-align: center;"><br /></div><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXSL8n6t0LozgzY74taGn1IoGuBQTLQSA0fkivhQLQQSsve6mYPEUf2ybU4MFQuBdAACx-KfpjWXwdUqARcazhCtxzspPjkMDQoWKbJ9QnEj3vLhr-JTbHQ86qIbXxGX1MvPv2nBRSMiDT/s1600-h/20100122_galliano-mangirdle_560x375.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 563px; height: 376px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXSL8n6t0LozgzY74taGn1IoGuBQTLQSA0fkivhQLQQSsve6mYPEUf2ybU4MFQuBdAACx-KfpjWXwdUqARcazhCtxzspPjkMDQoWKbJ9QnEj3vLhr-JTbHQ86qIbXxGX1MvPv2nBRSMiDT/s400/20100122_galliano-mangirdle_560x375.jpg" alt="" id="BLOGGER_PHOTO_ID_5432325857792711506" border="0" /></a><br />In searching for new site content, two pieces of media attracted my attention on the same day. The theme of the media is not totally new, but still disputable, and is especially of interest within the realm of fashion and gender. I'm talking about male corsets, folks. My <span class="blsp-spelling-corrected" id="SPELLING_ERROR_0">colleagues</span> have probably stopped reading this post by now (I practically jammed its history and theories down their throats last semester) but perhaps this topic is of interest to others, specifically those who didn't even know male corsets existed.<br /><br />Male <span class="blsp-spelling-error" id="SPELLING_ERROR_1">corsetry</span> is actually more of a common practice than many believe. I'm always met with shock and disbelief when the subject arises. "Men never wore corsets!" people vehemently declare. "I've never seen a male corset before, and I don't believe any exist." I first tell the non-believers to check the trunks of their grandfathers and/or ask them personally. Because well up until the 1950s, many men wore girdles, wide belts and other waist-restricting devices. They may not have called them corsets (due to the association with the feminine garment) but they performed the same function. People may say "panties" versus "boxers" but both are essentially "underwear" - just because they are gendered does not mean their purposes are vastly different.<br /><br />I hope to develop the history of male corsets in future posts. But I think it is interesting to work backwards and focus on contemporary sightings for now.<br /><br />John <span class="blsp-spelling-error" id="SPELLING_ERROR_2">Galliano's</span> Fall 2010 collection is definitely inspired by the past. Tailored suits, bowler hats, <span class="blsp-spelling-corrected" id="SPELLING_ERROR_3">hounds tooth</span> fabrics, canes and vests all made an appearance at some point during the show. And then came the corsets, bending the gender lines and exposing the world of undress in a very effective manner. What was <span class="blsp-spelling-error" id="SPELLING_ERROR_4">Galliano's</span> ultimate goal in doing so? Perhaps he is trying to make a statement about how fashion is not always as it seems... <span class="commentshown" id="posttemplate"><a aiotitle="click to expand" href="javascript:togglecomments('kat')">(Click to read more)</a><br /><div class="commenthidden" id="kat"><br /><br />Corsets and girdles create a false illusion for many, squeezing in undesirable spots, tightening "loose ends", forcing erect posture. People go to great lengths by which to hide their enhancements, especially when it comes to sexual encounters (how many of us have undressed in the dark or popped into the restroom, so that our significant other is not privy to silicon breast inserts or "stuffed sock" codpieces? This is a topic in need of analysis in and of itself). Perhaps <span class="blsp-spelling-error" id="SPELLING_ERROR_5">Galliano</span> wanted to play with the idea of fashion as camouflage, literally exposing the truth behind our bodies and emphasizing the idea that natural, bodily perfection is not an option for even the most attractive of people.<br /><br />Another theory is that <span class="blsp-spelling-error" id="SPELLING_ERROR_6">Galliano</span> has really done his homework with this collection. Noted by viewers as his "tamest collection", his runway is an ode to the past. To be true, many of the historically-based outfits would have been worn with waist-restricting devices which match exactly those that <span class="blsp-spelling-error" id="SPELLING_ERROR_7">Galliano</span> designed. The model on the right exudes this theory; socks held up with garters, a girdle worn as a bottom, a button-down shirt tucked into the girdle and an overcoat being the only semblance of a normal outfit. Did <span class="blsp-spelling-error" id="SPELLING_ERROR_8">Galliano</span> know - and try to explain to his audience - that these garments actually existed for men as they did for women?<br /><br />The other piece of media that caught my eye was a video of a famous male ice skater, Johnny Weir. At the US Nationals 2010, <a href="http://www.youtube.com/watch?v=NnUMOrd_ANI">he performed to Lady <span class="blsp-spelling-error" id="SPELLING_ERROR_9">GaGa's</span> hit, "Poker Face"</a>, with an outfit to match her unusual, thought-provoking style (click above to view his performance). His suit is designed with a corset in mind - doubtful that he actually wears one, given the activity, but it makes you wonder about the costume designer's choice.<br /><br /><div style="text-align: center;"><div style="text-align: center;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://www.figureskatersonline.com/johnnyweir/09sfh/09sfh09.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 281px; height: 410px;" src="http://www.figureskatersonline.com/johnnyweir/09sfh/09sfh09.jpg" alt="" border="0" /></a><span style="font-style: italic;font-size:78%;" >Photo: <a href="http://images.google.com/imgres?imgurl=http://www.figureskatersonline.com/johnnyweir/09sfh/09sfh09.jpg&imgrefurl=http://www.figureskatersonline.com/johnnyweir/gallery_09sfh.html&usg=__vuUwTnpeKhvqXtswm6mM6vvM88U=&h=392&w=267&sz=133&hl=en&start=32&sig2=CYt0pqvr4NgmyyVjeVVWRg&tbnid=AfeVPd0N4AmozM:&tbnh=123&tbnw=84&prev=/images%3Fq%3DJohnny%2BWeir%2Bpoker%2Bface%26gbv%3D2%26ndsp%3D18%26hl%3Den%26sa%3DN%26start%3D18&ei=AoFjS7T9N8eC8Qabn-m9Aw"><span class="blsp-spelling-error" id="SPELLING_ERROR_10">Figureska</span></a></span><span style="font-style: italic;font-size:78%;" ><a href="http://images.google.com/imgres?imgurl=http://www.figureskatersonline.com/johnnyweir/09sfh/09sfh09.jpg&imgrefurl=http://www.figureskatersonline.com/johnnyweir/gallery_09sfh.html&usg=__vuUwTnpeKhvqXtswm6mM6vvM88U=&h=392&w=267&sz=133&hl=en&start=32&sig2=CYt0pqvr4NgmyyVjeVVWRg&tbnid=AfeVPd0N4AmozM:&tbnh=123&tbnw=84&prev=/images%3Fq%3DJohnny%2BWeir%2Bpoker%2Bface%26gbv%3D2%26ndsp%3D18%26hl%3Den%26sa%3DN%26start%3D18&ei=AoFjS7T9N8eC8Qabn-m9Aw"><span class="blsp-spelling-error" id="SPELLING_ERROR_11">tersonline</span></a></span><br /></div><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://upload.wikimedia.org/wikipedia/commons/a/a1/CorsetLeonJulesRAINAL_Freres22a.png"><img style="cursor: pointer; width: 205px; height: 307px;" src="http://upload.wikimedia.org/wikipedia/commons/a/a1/CorsetLeonJulesRAINAL_Freres22a.png" alt="" border="0" /></a><br /><div style="text-align: center; font-style: italic;"><span style="font-size:78%;">Photo: <a href="http://images.google.com/imgres?imgurl=http://upload.wikimedia.org/wikipedia/commons/a/a1/CorsetLeonJulesRAINAL_Freres22a.png&imgrefurl=http://commons.wikimedia.org/wiki/File:CorsetLeonJulesRAINAL_Freres22a.png&usg=__ZgzOYd2k5t2xJSfNrfZ3izCuJf0=&h=3072&w=2213&sz=490&hl=en&start=4&sig2=FGGdKvnGaw2LnIjhqV2VNg&tbnid=-KW0LXyPBDE1NM:&tbnh=150&tbnw=108&prev=/images%3Fq%3Drainal%2Bfreres%2Bmale%2Bcorset%26gbv%3D2%26hl%3Den&ei=a4djS-GAE-KI8QaUy_DNAw">Male corset, </a></span><a href="http://images.google.com/imgres?imgurl=http://upload.wikimedia.org/wikipedia/commons/a/a1/CorsetLeonJulesRAINAL_Freres22a.png&imgrefurl=http://commons.wikimedia.org/wiki/File:CorsetLeonJulesRAINAL_Freres22a.png&usg=__ZgzOYd2k5t2xJSfNrfZ3izCuJf0=&h=3072&w=2213&sz=490&hl=en&start=4&sig2=FGGdKvnGaw2LnIjhqV2VNg&tbnid=-KW0LXyPBDE1NM:&tbnh=150&tbnw=108&prev=/images%3Fq%3Drainal%2Bfreres%2Bmale%2Bcorset%26gbv%3D2%26hl%3Den&ei=a4djS-GAE-KI8QaUy_DNAw"><span style="font-size:78%;"><span class="mw-headline" id="L.C3.89ON_.26_JULES_RAINAL_FR.C3.88RES"><span class="blsp-spelling-error" id="SPELLING_ERROR_12">RAINAL</span> <span class="blsp-spelling-error" id="SPELLING_ERROR_13">FRÈRES</span></span>, 1907</span></a><br /><br /></div><div style="text-align: left;">Weir's sexuality has been on the minds of the media and remains cloudy; his penchant for high fashion has caused many to label him, despite his protestations and ability to shrug off the accusations. He may be toying with <span class="blsp-spelling-error" id="SPELLING_ERROR_14">GaGa's</span> cross-dressing themes, how they radiate in society, may want to cause controversy about the role fashion plays when dealing with sexuality. His choice of clothing sends the message he has touted for so long - it should be about the sport, and nothing else.<br /></div></div><br />Or maybe, he had an "in" on <span class="blsp-spelling-error" id="SPELLING_ERROR_15">Galliano's</span> collection and is merely projecting a hopeful trend.<br /><span style="font-size:78%;"><br /><span style="font-style: italic; font-weight: bold;">Further reading on contemporary male <span class="blsp-spelling-error" id="SPELLING_ERROR_16">corsetry</span>:</span><br /><br /><a href="http://nymag.com/daily/fashion/2010/01/john_galliano_delivers_man_cor.html">"John <span class="blsp-spelling-error" id="SPELLING_ERROR_17">Galliano</span> Delivers Man Corsets"</a> - The Cut, fashion blog for New York Magazine<br /><br /><a href="http://nymag.com/fashion/fashionshows/2010/fall/main/europe/menrunway/johngalliano/">John <span class="blsp-spelling-error" id="SPELLING_ERROR_18">Galliano</span> Fall 2010 Menswear runway photos </a><br /><br /><a href="http://www.amazon.com/Fetish-Fashion-Power-Valerie-Steele/dp/0195115791/ref=sr_1_1?ie=UTF8&s=books&qid=1264813597&sr=1-1">Fetish: Fashion, Sex and Power </a>- Valerie Steele<br /><br /><a href="http://www.amazon.com/Fashion-Fetishism-Corsets-Tight-Lacing-Body-Sculpture/dp/0750938099/ref=sr_1_1?ie=UTF8&s=books&qid=1264813572&sr=8-1">Fashion and Fetishism: a Social History of the Corset, Tight-Lacing, and Other Forms of Body-Sculpture in the West</a> - David <span class="blsp-spelling-error" id="SPELLING_ERROR_19">Kunzle</span><br /><br /><a href="http://www.malecorsetry.com/">Male <span class="blsp-spelling-error" id="SPELLING_ERROR_20">Corsetry</span> </a>- blog dedicated to male tight lacing</span><br /></div></span>Khttp://www.blogger.com/profile/13074983081259770408noreply@blogger.com2tag:blogger.com,1999:blog-6651508467076404005.post-54050406152408417032010-01-22T23:21:00.001-05:002010-01-24T22:54:33.260-05:00Design ReVamp! and Design Blok Praha c.2008After viewing my site from different computers, I realized my desktop publishing skills were quite rusty and that my blog looked really unprofessional, so I switched things up a bit. I wanted to put a photo of a dressform in the background, but I couldn't bear with the fact that nothing I'd find would be my own. So I searched through my photo collections, and found the background you see now. I think it works quite nicely, don't you? Things are more clearer to comprehend.<br /><br />The photo is not photoshopped to look as such; yes, I enjoy photography but I don't have the proper equipment (sadly) and this was taken on a simple point-and-shoot. It's from a collection shown during Prague Fashion Week 2008, by a designer named Jaroslava, for whom I wasn't a huge fan of. I like the way the photo came out, there are a couple more like this as well. It's very Fashion, Culture and Identity-esque, which was what I was going for - simple silhouettes that capture the essence of fashion, which is truly undefinable.<br /><br />On a separate note, fashion shows are of a particular interest of mine because they are breeding grounds for fashion culture field research. There is so much to be learned from attendees, designers, producers and stagehands. What kinds of people attend certain collections? How do they react to what is displayed before them? Do designers create their performance themes based on what best expresses the collection's image, or based on what they believe their viewers will enjoy?<br /><br />I've included a few more of my favorite pictures from that event. All in all, Design Blok is a very interpretive event. I like the different ways in which the designers choose to display their collections. Many of them bridge the gap between performance and fashion very well.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDY3wvr_fkNiPGvS2Fkz-LJdoMUiT3NXIJX_5zl7LLGDy4cjMaY0bNJ-NSekC2LshRFy_ad5TatRspQZPjltafgG-AerBJvXLmD0twrSMTFsSlrgEf6Vrcgfkf-uhByPhhKvSRXFqRXgKm/s1600-h/IMG_4406.JPG"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 300px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDY3wvr_fkNiPGvS2Fkz-LJdoMUiT3NXIJX_5zl7LLGDy4cjMaY0bNJ-NSekC2LshRFy_ad5TatRspQZPjltafgG-AerBJvXLmD0twrSMTFsSlrgEf6Vrcgfkf-uhByPhhKvSRXFqRXgKm/s400/IMG_4406.JPG" alt="" id="BLOGGER_PHOTO_ID_5429788811311551426" border="0" /></a><a href="http://www.fashiondesigners.cz/designeri/7dub">Zuzana Sedmidubská </a>created a beautiful white and green collection. I wish I could own her stuff but she wasn't selling at the designer's market that night.<br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsiWZzY42XKYBwnMn9evdlGp3KT87fAFeSzO7evEUmXoy2_iHibPfSVgvhf5a0_0QKm-OrURBQyxqrqCp9uQ2NFACPIHsQ-jyhokuDg7EgU17VYhBZRAeT1RcvNbRSsVKMRAqiXsy7bDuH/s1600-h/IMG_4379.JPG"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 300px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsiWZzY42XKYBwnMn9evdlGp3KT87fAFeSzO7evEUmXoy2_iHibPfSVgvhf5a0_0QKm-OrURBQyxqrqCp9uQ2NFACPIHsQ-jyhokuDg7EgU17VYhBZRAeT1RcvNbRSsVKMRAqiXsy7bDuH/s400/IMG_4379.JPG" alt="" id="BLOGGER_PHOTO_ID_5429788801775987922" border="0" /></a><a href="http://www.333fashion.cz/">333 Fashion Studio</a>. They had a live beatboxer and covered the catwalk with astroturf.<br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQLXybuxAFe8dcnwDt3d_YbYwXIpgC2JiXpdxH7KAT93FtUfyiO1v8BqR0hSLcIRrjiydDA95Y0KmDHU1dwACE-nX700xjNSxGaivz5-3NxwUmQ8Qsl0mGV5XsS1j-uPUpuI-A4UdTM4Gw/s1600-h/IMG_4366.JPG"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 300px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQLXybuxAFe8dcnwDt3d_YbYwXIpgC2JiXpdxH7KAT93FtUfyiO1v8BqR0hSLcIRrjiydDA95Y0KmDHU1dwACE-nX700xjNSxGaivz5-3NxwUmQ8Qsl0mGV5XsS1j-uPUpuI-A4UdTM4Gw/s400/IMG_4366.JPG" alt="" id="BLOGGER_PHOTO_ID_5429788791438272514" border="0" /></a><a href="http://www.navarila.cz/">Navarila </a>created beautiful knits based on her time spent in the Middle East. She was also a personal friend of my classmate's host mother, who used to be a designer herself.<br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRZJOGAwC4edlfTyxMgZJL16UYklT_gkQA3M5ex6hczBtEnrLkt9cyeF-e7LUJjb5dD52fD1IhyphenhyphenoxNvSM3iTLaO3hUWaslGLqNMZGRKhyphenhyphenUrui5ybx8T9ibW8D8_BBBE1zUnigvFjdcQ1ZI/s1600-h/IMG_4321.JPG"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 300px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRZJOGAwC4edlfTyxMgZJL16UYklT_gkQA3M5ex6hczBtEnrLkt9cyeF-e7LUJjb5dD52fD1IhyphenhyphenoxNvSM3iTLaO3hUWaslGLqNMZGRKhyphenhyphenUrui5ybx8T9ibW8D8_BBBE1zUnigvFjdcQ1ZI/s400/IMG_4321.JPG" alt="" id="BLOGGER_PHOTO_ID_5429788788258627826" border="0" /></a><a href="http://www.modra-fashion.cz/en/eshop.html">Modrá's </a>collection was very unique. Every piece was sewn for versatility; dresses, like the one shown here, tied up together at the shoulders for a dramatic block effect, or could be tied into pants, etc.<br /><br /><br /><div style="text-align: center;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiwseUOdd1E7EZJGfchkw45KO9BRR8QqQvHRb6kJN_V7xexyhvwFHXbblXEVdTabR6DkMfYhzjKEFk8rCK7NwwgkVykn-u2QHAcX8IEZSgUzPnnN-3gmbJzro0ZVVuaM65DdXW8kn3AdTh/s1600-h/IMG_4261.JPG"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 300px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiwseUOdd1E7EZJGfchkw45KO9BRR8QqQvHRb6kJN_V7xexyhvwFHXbblXEVdTabR6DkMfYhzjKEFk8rCK7NwwgkVykn-u2QHAcX8IEZSgUzPnnN-3gmbJzro0ZVVuaM65DdXW8kn3AdTh/s400/IMG_4261.JPG" alt="" id="BLOGGER_PHOTO_ID_5429788779229537746" border="0" /></a><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dzD7GNZlANgGlt9ZT5EtMQCvyqBlLLUcIq4BMykF1mdG3zXjNye_c4L08PcD4VYoN5xFLIioXt9ixgPu8ag6Q' class='b-hbp-video b-uploaded' frameborder='0'></iframe><br /></div><br /><a href="http://www.chi-chi.cz/">Chi-Chi</a>. The models were actually dancers, who performed lyrical dances on the catwalk to emphasize the flow of the clothing. This was my favorite show.Khttp://www.blogger.com/profile/13074983081259770408noreply@blogger.com1