How dress practices reacted to and intersected with political and social forces and events – from charting the effects In the social history of art, feminism, gender and identity studies, as well as visual and material culture. Contributors benefitįrom and reconcile in their own work these diverse disciplinary perspectives.Īs these essays showcase, the study of dress has productively driven new research (Uzanne), feminism (Felski, Parkins), sociology (Entwistle), costume history (Ribeiro), politics (Lipovetsky), social andĬultural history (Steele, Wilson), sexuality (Laver), and architecture (Wigley, McLeod).
Of perspectives and backgrounds, including: economics and the conspicuous consumption demanded by capitalism (Veblen, Roche),Īnthropology (principally non-Western fashion), semiology and linguistics (Barthes), psychology (Flügel), aesthetics Lacking a true disciplinary home, fashion has been studied and defined from a multiplicity Theory, in keeping with the different approaches and questions pursued by each contributor and also the orphaned status ofįashion studies more generally. Moreover, their work engages with a wide swathe of modern critical Private letters, autobiographies, painting treatises, Salon reviews, Suffrage publications, fashion magazines, print indexes,Ĭontemporary poetry and fiction, and sociological theory. Their period print and archival research is equally diverse, encompassing Prints, and posters to fashion plates, caricatures, and 2advertisements. In art and life during the long nineteenth century, with serious implications for our understanding of dress cultures today.Ĭontributors draw on a vast array of visual sources, from paintings, photographs, They all view artworks as socially mediated cultural artefacts that illuminate the varied and complex meanings of dress Of dress and its representation, the essays consider how artists and sitters engaged with the fashion and culture of their By unpacking the significance of historical dress, as well as the lived experience ContributorsĮxamine not only dress and the art object – their production and reception – but also the larger visual and materialĬulture within which they were embedded. The ramifications of these choices in case studies centred on crucial historical, cultural, and political moments. Posture, and pose also shaped contemporary ideals and self-fashioning in the real world. Artists did not merely record the fashions around them, but in their two-dimensional renderings of dress, Of modern life must be read with an eye to fashion and dress as to do otherwise omits a whole world of complex calculationsĪnd subtle signals. From 1775 to 1925, artists were especially attuned to the gaps betweenĪppearance and reality, participating in and often critiquing the construction of the self and image.
Reveals not only who we are, but whom we aspire to be.
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