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The article explores the interest and knowledge in clothing of German art historian Johann Joachim Winckelmann. Topics discussed include the social role of clothing in the self-promotion of his identity and transformation into an influential man in Europe, the object-based analysis of clothing in his 1764 book "History of the Art of Antiquity," and the emotional and aesthetic qualities attributed by Winckelmann to drapery.

The article explores the history and political aspects of women's clothing in the era of the U.S. Civil War. Emphasis is given to fashion culture among white planter women, female house slaves, and the seizure and destruction of clothing by white soldiers. Other topics include the symbolic aspects of women's attire, clothing as a marker of gender identity, and racial hierarchies.

This article examines the clothing of landowning farmers in inland Swedish from a gendered perspective during industrialisation in the nineteenth century. It considers clothes as possessions and goods within a European framework of trade and influence. In particular, it shows how clothing was a means of expression that changed during the course of industrialisation and how gender became an important factor in the supply and making of clothes. In the region examined, clothing changed from being a local fashion, characterised by similarities in material and workmanship between men's and women's clothes, to become a part of fashion in general with its emphasis on differences between men's and women's wardrobes. In the early nineteenth century, the female wardrobe accounted for a higher value as it included a greater share of garments made of manufactured fabrics. In late nineteenth century, when industrial forestry had replaced livestock farming as the main source of income in the area, men's wardrobes grew in value due to increased demand for tailor‐made garments and purchased fabrics. By contrast, women's garments were often made of simpler fabrics and sewn by seamstresses. These changes responded to the growing breadwinner–homemaker ideal and to national‐romantic ideas about folk costume – two tendencies that emphasised female domesticity and home‐woven fabrics. [ABSTRACT FROM AUTHOR]

This paper explores the clothing and representation of the galli priests of Cybele in late Republican and early Imperial Rome. The galli were male‐bodied, but practiced self‐castration and wore traditionally feminine clothing and makeup, which the article argues placed them outside any expected gender binary and allowed them to inhabit a non‐binary identity. The article applies contemporary drag theory and the relationship between clothing and identity, particularly in respect of (assumed) incongruity, to explore the ways in which the galli's identity is visible in the Roman world. In the final section, a case study is made of the way the galli are represented in Lucian of Samosata's On the Syrian Goddess. [ABSTRACT FROM AUTHOR]

An introduction to the journal is presented, which brings together a range of articles considering the relationship between dress and gender in different historical pieces. Other topics discussed include musician Harry Styles and how dress is often a marker for identity.

As Australia's Second World War servicemen began returning home, many anticipated the pleasure of stepping out of their uniforms for the last time. Yet scholarship on the role clothing played in repatriation and post‐war rehabilitation in Australia remains scarce. Exploring the post‐war swing towards sportswear, the article considers the growing idea of relaxed bodies and the language of comfort that underpinned it. It argues that being attentive to men's dress allows us to engage with a reframing of attractive, able, white, heterosexual bodies that combined two icons of Australian masculinity – the Anzac and the athlete – into a more relaxed vision of manliness. [ABSTRACT FROM AUTHOR]

To produce this exhibition, the PEM partnered with the Kunstmuseum Den Haag in the Netherlands. The Peabody Essex Museum in Salem, Massachusetts is the oldest continually operating museum in the United States.[1] Created from a merger of the Peabody Museum of Salem and the Essex Institute, the Peabody Essex Museum (PEM) reflects its two-hundred-year history with an extraordinary collection of art, including maritime, American, Asian, Oceanic, and African. PHOTO (COLOR): Figure 1 Gallery view "Breaking In", exhibition, Made It: The Women Who Revolutionized Fashion, 2020. [Extracted from the article]

In 1932, Nellie van Rijsoort (1910–1996), the Dutch embroidery maker and designer, opened her atelier in Rotterdam. Among her clients were prestigious fashion stores in the Netherlands as well as wealthy middle-class customers. After the Second World War, van Rijsoort left Rotterdam and continued her career in Melbourne in the rapidly developing fashion network of Australia. Today, samples of embroidered fabrics and fashion drawings by Nellie van Rijsoort are part of the collections of the Museum Rotterdam and the National Trust of Australia in Melbourne. These collections provide insight into half a century of history of embroidered fabrics. This article illustrates the largely forgotten career of the embroidery designer. The first part of the article outlines the position and meaning of van Rijsoort's atelier in the fashion networks of the Netherlands and Australia, while the second part provides an analysis of embroidery samples and drawings, which reveal the place and function of embroideries as dress decorations. [ABSTRACT FROM AUTHOR]

The article focuses on the close study of a group of eighteenth-century chintz nightgowns that were ready-made or partly ready-made in India for the European market. Whereas nightgowns are usually associated with the taste for the exotic and the spread of the fashion is sometimes linked to the availability of the garment on the ready-made market, the production of ready-made gowns in India and the methods put in place to manufacture these commodities have not been studied. Based on a close reading of surviving chintz nightgowns, the article attempts to understand production techniques put in place by Indian craftsmen to meet European demand. Material evidence suggests streamlined production processes were in place in India from the end of the seventeenth century that had no real equivalent in Europe. The article thus sheds further light on the idea of Europe's 'Indian apprenticeship', showing that Indian mastery of colour was coupled with production methods combining artisanal, non-mechanized work with a level of bulk production and enhanced efficiency. [ABSTRACT FROM AUTHOR]

This article follows a study of a collection of baby clothes assumed to be of late seventeenth-century date to ascertain whether or not that assumption might be correct. The collection is unusual in containing caps, rare in themselves but also decorated with lace frills in the adult frelange style; a rare pair of sleeves with paned oversleeves; and christening and other items for wear by a swaddled infant which are more common in known collections but here, more unusually, trimmed with Flemish bobbin lace. The article discusses the items in terms of their relationships with each other, their construction, their fabrics and how they were worn. Comparisons with similar and related articles in other collections and in seventeenth-century portraits of adults and children enable the author to conclude that the articles probably do date from the late seventeenth century but from slightly different decades. [ABSTRACT FROM AUTHOR]

At the turn of the twentieth century in Toronto, articles in local newspapers and magazines exposed women to disparate views on corsets. On one side of the argument were dress reformers who advised women to do away with corsetry for the sake of their health and wellbeing. On the other side, were fashion journalists who advised them about current styles, which often oscillated from year-to-year. Despite this disparity, corsets were an ever-present foundation of nineteenth century fashion, to the extent that they were a frequent, sexy addition to crime reporting. The exaggerated stories in the media subjected women to a tug-of-war over their body autonomy. This article is based on content analyses of periodicals and exposes how corsets were presented in Toronto periodicals such as The Toronto Star, The Globe, and The Canadian Dried Goods Review, among others. [ABSTRACT FROM AUTHOR]

Reading the clues embedded in extant clothing demands both imagination and patience since the subtle marks of wear, use and alteration may only become evident with extended observation and reflection. During the course of a project undertaken in conjunction with the bicentenary celebrations of John Ruskin's birth culminating in the exhibition of Sarah Casey's drawings in Ruskin's Good Looking! (8 February–7 April 2019), the authors studied the garments of John Ruskin at Brantwood, his former home in the Lake District. The life-sized drawings of these garments produced by Casey mapped the absent presence of the former wearer, allowed visitors the opportunity to better see and reflect on Ruskin's clothing, and also revealed the hidden histories of Ruskin's garments. Drawing, the making of marks with meaning, is not an obvious research tool in dress history and curatorial practice but, as this case study shows, can expose subtle details and reveal new insights. [ABSTRACT FROM AUTHOR]

Author and diarist Anaïs Nin was an important figure in feminist literary circles in the 1960s and 1970s. Her diaries, first published in the 1960s, began with her life in France in the early 1930s. The wife of a banker, she lived a comfortable life, free to pursue her writing and bohemian living, including writing extensively on her use of dress to distinguish herself. This report presents the first in-depth examination of Nin's 1930s diaries and related primary sources from the perspective of dress history and calls for further research into the dress practices of this important literary figure of the twentieth century. [ABSTRACT FROM AUTHOR]

The article has a double focus: explaining the so-far obscure origins of children's fashion in the later eighteenth century and putting its emergence in the context of the 'grand narrative' concerning the 'discovery of childhood' during this pivotal period. Contrary to Rousseau's famous dismissal of the hussar suit, the role of 'fancy dress' inspiration in the development of children's fashions for the first time purposefully meant to distinguish the (male) child from the grown-ups and, concurrent with the Enlightenment's ideas on childhood, emerges as central rather than marginal. The repertory of styles adopted for boys' wear is shown to have been inspired by various ethnic and historical dress traditions rooted in the fascination with masquerade characteristic of the Rococo culture but harnessed to express the emerging new attitudes. Among them, special attention is given to inspirations by Polish national dress. Second, the article takes on the argument presented by Daniel Thomas Cookin his inspiring article in Textile History, 42, no. 1 (2011). Having acknowledged the foundational role of fashion history in the emergence of childhood studies, Cook regards its present status as peripheral. He dismisses the underlying premise of its principal 'grand narrative' as based on a fruitless distinction between utility (and functionality) and fashion rather than the invention or discovery of the 'child' and 'childhood'. While partially accepting Cook's criticism, the article argues that the 'grand narrative', thus modified and expanded, retains its usefulness. In the nineteenth century, the 'fancy dress' and 'playfulness' theme continued, reflected in the most popular children's styles (sailor suit, Little Lord Fauntleroy suit) and a range of others, temporarily or locally prominent, and intertwining with multifarious cultural, artistic, social and commercial developments. [ABSTRACT FROM AUTHOR]

The double portrait of Mary Tudor, sister of King Henry VIII of England, and Charles Brandon, Duke of Suffolk, has traditionally been dated to 1515. This attribution has led the portrait to be widely regarded as the earliest depiction of the style of headdress known as a French hood being worn by a member of the English court. However, the date of 1515 does not take into account the circumstances surrounding the marriage of the two sitters, circumstances that would have prevented the portrait from being commissioned at this time. It also ignores features of the sitters' attire, which display elements of later 1530s fashions. Using both documentary and pictorial evidence, this paper will seek to propose a later creation date of 1532, establish a different reading of the portrait and reassess our understanding of the French hood at the English court in the early sixteenth century. [ABSTRACT FROM AUTHOR]

Dandyism was a spreading phenomenon in the cities of the late nineteenth century. Its more bourgeois and literary aspects are well researched, but it also influenced a number of youth subcultures that were seldom expressed in written or published forms except when journals and newspapers derided them. One of these was the character of the masher which emerged as a distinctly British variation during the middle of the century and was established as a form of popular dandy type in the 1880s. It is typical for a phenomenon like this to remain unexpressed, but a curious short-lived periodical entitled ‘The Masher’ was published in a few issues in 1883 during the height of the masher culture’s popularity. Through a study of the issues of this journal and the contents of its articles, this article aims at contemplating masher culture as a specific male subculture and testing the notion that this journal was a manifestation of it. Considering aspects of gender, performativity, dress and cultures of frivolity, the discussion centres around the self-irony and affectedness of the masher role, and its relation to other forms of more respectable dandyism. [ABSTRACT FROM AUTHOR]

Quaker women's plain clothing acquired a special significance in the eighteenth century. This article examines its meaning through an analysis of various kinds of cultural products, including plays, periodicals such as the Spectator, and novels such as Samuel Richardson's Pamela (1740). It also addresses writings on the question of appropriate attire by Quaker authors. Women Friends' sartorial choices became a parameter from which to measure the specific kind of cultural shifts that occurred generally in eighteenth-century English society regarding gendered prescriptions for women's conduct and patterns of consumption. These changes are chronicled from the early stages of the movement in the last decades of the seventeenth century through the early decades of the eighteenth century, when Quakerism developed into an established denomination. The acceptance and eventual desirability of Quaker women as spouses, illustrates the ways in which English society began to codify and establish ideal wifely behaviour. [ABSTRACT FROM AUTHOR]

ABSTRACT Fashionable in Britain in the early nineteenth century, Neoclassical dress embodied the aesthetic ideals of the Enlightenment; but it also reflected implicit cultural constructs of the body, gender, status, and race. Borrowings from ancient Greek styles differed for women and for men, and for elites versus the lower classes. The production of Neoclassical garments was dependent upon the economic exploitation of the Indian subcontinent. Neoclassical dress was not purely an aesthetic choice; it was essential for the individual negotiation of social and cultural differences in the British Empire. [ABSTRACT FROM AUTHOR]

Since 2019, a research project has been ongoing on the many textile fragments that were excavated in Hisn al-Bab, near Aswan, Egypt (late sixth to early seventh century CE). Part of the study focuses on the determination of clothing fragments. Seams are an important feature for identifying garments. An investigation of these features revealed that one of Hisn al-Bab's textile fragments provides evidence for an unusual way of joining two woven textiles without using sewing techniques. [ABSTRACT FROM AUTHOR]

In the early eighteenth century, the Duchess of Queensberry arrived at the Bath Assembly wearing a white apron, only to have it torn from her person by a Master of Ceremonies who declared that only a lady's maid would appear dressed so. This article looks at the apron as a garment worn by elite women in eighteenth-century England in order to consider some of the questions raised by this encounter. Aprons were closely linked with the labouring classes in contemporary representation, and elite women wearing them were therefore accused of imitating the dress and behaviours of their inferiors. While emulation from below has received due attention from scholars, this apparent imitation from above remains underexplored. Elite women certainly did masquerade as country girls at times; however, the apron as an item of elite dress was not as transformative as contemporaries feared. Instead, it became subject to expectations and conventions governed by the rhythms of elite everyday life. Though the Duchess of Queensberry became infamous, elite women wearing aprons were most likely to provoke censure when they defied these conventions. [ABSTRACT FROM AUTHOR]

This article will consider how dress, textiles, manuscripts and images in the Thomas Hardy Archive illuminate his writing and reveal the accuracy of his descriptions of clothing in novels including Far from the Madding Crowd and Tess of the D'Urbervilles. Rural clothing, fashionable styles, drawings and illustrations will shed new light on his writing through providing an insight into the people's dress he described so eloquently in his writing. The textiles and clothing in the Archive are also significant as nineteenth-century working-class dress is relatively rare. Everyday rural clothing does not tend to survive, so a collection belonging to Hardy's family of country stonemasons provides new opportunities for research in this area. Even more unusual is clothing reliably provenanced to famous people or writers, and such garments that do exist tend to be from the middle or upper classes. This article will show how the combination of surviving dress, biographical context and literary framework enriches understanding of Hardy's words and informs research into nineteenth-century rural dress. [ABSTRACT FROM AUTHOR]

This article introduces two manuscript editions of a richly illustrated costume album dated ca. 1548-49. Commissioned by Christoph von Sternsee (d. 1560), the captain of Charles V’s German guard, and composed using visual material sourced from Dutch master Jan Cornelisz Vermeyen (ca. 1500-59), the costume album records the diversity of subjects, customs, and costumes that the guard witnessed across imperial Habsburg Europe. Shaped by Sternsee’s personal experiences of travel, war, and empire, his costume album paints a vivid picture of imperial propaganda and personal ambition, demonstrating the significant role that Habsburg networks and relationships had upon the period’s visual culture. [ABSTRACT FROM AUTHOR]

In the hundred years from 1450 to 1550, the great success enjoyed by the English woollen industry in continental markets was a result of clothiers organising the rural cloth industry in the West Country, Suffolk/Essex, the Kentish Weald and Newbury and its surrounds, to produce cloth that London merchants required. To do this they allocated extensive capital to cloth production: buying wools, sorting and dyeing them, organising their carding and spinning, putting the yarn out for weaving, and then in some cases owning the mills that fulled the cloth and finally shearing it in-house. The leading clothiers carried wool and cloth inventories, developed strong buying networks and offered merchants credit. Clothiers' control over production declined after 1550 as the government exercised greater control over cloth quality and clothiers' freedoms, and as price competition intensified from coarser cloths and new draperies. [ABSTRACT FROM PUBLISHER]

This article argues for an updated theoretical framework in fashion studies. It proposes that perspectives emphasizing the social role and the technological nature of dress should be considered complementary, and that their joint application can contribute to new understandings of fashion history. Employing ethnographic methods, this stance is explored through a comparative analysis of the sartorial practices of two groups of women living or working in Amsterdam during the 1950s and the 2010s. A theoretical framework integrating theories of identity (mainly based on the writings of Georg Simmel and Gabriel Tarde) and the philosophy of technology (in this case the device paradigm of Albert Borgmann) allows us to uncover a paradoxical history of fashion in which clothing shifts roles, transforming from “things of imitation” into “devices of differentiation.” [ABSTRACT FROM AUTHOR]

The 'bloomers' are rarely considered beyond their 1851 origins in the United States and subsequent appearance in Britain. This article expands dress reform scholarship by analysing print culture elsewhere in the British world, specifically Australia and New Zealand. The colonial press manufactured controversy over this fashion - a perceived transgression of gender norms - even though antipodean women rarely sported the outfit. This article focuses on the dress reform lectures and writings of Amelia Bloomer, Caroline Dexter and Dr Mary Walker. While certain continuities resurfaced alongside the bloomer-like rational dress popularised in the bicycling culture of the 1890s, dress reform was largely deemed far less controversial by the turn of the twentieth century. [ABSTRACT FROM AUTHOR]

This article discusses dress, and the consumption of clothing among the burghers of seventeenth-century Stockholm. Clothing was one of the most important ways in which early modern people displayed and claimed their position in society. Through fine materials and fashionable cut, wealth and status, as well as the less tangible capital of knowledge of style and trends, could be expressed in a way that was visible to all. Clothing was therefore also a way that society was made comprehensible. [ABSTRACT FROM AUTHOR]

Pockets are now standard and accepted aspects of clothing, but their presence in dress has not always been so assured. This article examines the use of pockets in western Europe from the late fifteenth to the early seventeenth centuries, demonstrating that pockets were adopted into clothing much earlier than has often been believed. It discusses the physical form of pockets in the dress of both genders and the types of garments into which they were inserted. It also explores the possible reasons for the uptake of pockets, the uses to which they were put and the sorts of objects which were kept in pockets, showing that pockets provided the wearer with an individual and personal space which they could use to transport a wide range of goods hands-free. [ABSTRACT FROM AUTHOR]

Copyright of Historia: Questoes & Debates is the property of Universidade Federal do Parana and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Historia: Questoes & Debates is the property of Universidade Federal do Parana and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

An introduction is presented in which the editor discusses articles in the issue on topics including history of clothing, Fashion stories and Fashion magazines.

Localised in townships across South Africa’s Gauteng province,skhothaneemerged during the early 2010s as a cult of status characterised by a style of flashy, branded dress. Forizikhothane(the adherents of skhothane), surface is power. This emphasis on surface and visibility reveals much about the process of identity fabrication among township youth, positioning the trend not so much as a subculture but rather as a performative aesthetic existing in a continuum of style that includes, but is not limited to,pantsula,umswenko, andamakrwalacultural practices. This continuum might also be seen to function like technology, positioning the skhothane aesthetic as an intertext of recurrent sartorial quotation which can be used as a platform for imaginative speculation. Skhothane creates a highly visible entanglement with the ideation of the “African modern” (Nuttall and Mbembe.Johannesburg: The Elusive Metropolis.Johannesburg: Wits University Press, 2008), producing connections between township and late-capitalist metropolis that are not based on the historical one-way transfer of labour, but rather on complex interconnectivity between Johannesburg and its edges, the city and its inhabitants. [ABSTRACT FROM PUBLISHER]

An examination of dress-related artifacts from the Vanoli block (5OR30), a sporting complex in Ouray, Colorado, indicates that the prostitutes, working in the cribs on the block, and their clients dressed in clothing that was thoroughly working class. This conclusion contrasts with previous research on brothel assemblages that has demonstrated that the madams and prostitutes who resided in such establishments purchased relatively expensive items of clothing and decor that were not consumed by their working-class neighbors. An examination of the sartorial choices made by the women and men on the Vanoli block, from the perspective of practice and performance theory, suggests that they were shaped by the specific conjunction of class and gender politics that characterized Western mining towns at the end of the 19th and beginning of the 20th centuries. [ABSTRACT FROM AUTHOR]

The article discusses the alleged influence of the "cultural turns" on the social history of national socialism. Social theories concerning authoritarianism and dictatorship are considered, the soundscapes of marching Nazis and their supporters are analyzed, and information is offered on the study of national socialism's influence on clothing.

The grave of La Balance-Ilot P, in Avignon, southern France, is an individual and isolated burial, attributed in the 1970′s to the Mesolithic or the Early Neolithic. The grave, partially unearthed, was exhibited and stored at the Calvet Museum until its rediscovery and laboratory excavation in 2009. We used 3D laser recording and field anthropological methods, followed by a multidisciplinary approach. The deceased, an adult male, was buried in primary deposition without any architectural features preserved. For the first time in the Mediterranean early Neolithic, this study led to the identification of a garment adorned with sophisticated embroidery using 158 red-coloredColumbella rusticashells and 16 red deer canines. Calibrated AMS dates allow us to reliably place it in the early 5th millenniumb.c. reinforcing evidence for long distance intercultural relationships in Europe during the Neolithic. [ABSTRACT FROM AUTHOR]

This article is about the clothing of country gentlemen in late seventeenth and early eighteenth century England. It begins with an exploration of the London-centric depiction in popular literature of country gentlemen as old fashioned in their manners, dress and lifestyle. It then explores the main elements of male fashion and the role of London in creating and disseminating it. Drawing on surviving clothing accounts, it subsequently offers a detailed analysis of what a number of country gentlemen were wearing during this period, exploring the extent to which they participated in London's fashion culture and their preferences for London-bought clothing. [ABSTRACT FROM PUBLISHER]

This article examines the American dress-reform movement, detailing the ways in which reformers conceptualized clothing as a social and bodily technology. In the mid-nineteenth century, women began making and wearing the “reform dress”—a costume consisting of pants and shortened, lightweight skirts—as an alternative to burdensome feminine fashions. When ridiculed in public for wearing overtly masculine garments, dress reformers insisted their clothing was healthful, functional, and natural. This article discusses women’s use of medical science and technical knowledge in their rejection of fashion, promotion of sexual equality, and efforts to change mainstream clothing practices. When approached from a technological perspective, the reform dress reveals broader tensions in an industrializing American society, such as changing gender relations and new understandings of the relationship between humans and technology. [ABSTRACT FROM AUTHOR]

Copyright of OHM: Obradoiro de Historia Moderna is the property of Universidad de Santiago de Compostela, Servicio de Publicaciones and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article unpacks the historical meanings of an important lace dress, one made for Empress Maria Theresa of Austria (1717–1780) and represented in two prominent paintings by her court portraitist Martin van Meytens. After examining the dress’s history and the circumstances of its production and reception, the article turns to the question of lace’s materiality, which it approaches through concepts derived from recent scholarship in material culture studies. This approach defines the dress less as a dazzling garment and more as a material product, as a thing with specific physical characteristics that interact with a range of conceptual ones. By examining how this dress was made and the implications of that making on its representation, the article seeks to enrich our interpretive results beyond what recent theories of fashion or identity alone would permit. Reaching those results requires thinking extensively about the making of lace, and indeed how lace’s materiality—its ontological status within the materiality of eighteenth-century society—can be theorized to generate meanings from it. The article then traces the lace’s post-garment history, locating at least three fragments that either repurpose parts of it or mimic the appearance of the original. [ABSTRACT FROM PUBLISHER]