No description available.

As a popular ‘scientific’ and educational journal, National Geographic, since its founding in 1888, has positioned itself as a voice of authority within mainstream American print media, offering what purports to be an unprejudiced ‘window onto the world’. Previous scholarship has been quick to call attention to the magazine’s participation in an imperialist representational regime. Catherine A. Lutz and Jane L. Collins, Tamar Rothenberg and Linda Steet have all argued that National Geographic’s distinctive, quasi-anthropological outlook has established hierarchies of difference and rendered subjects into dehumanised objects, a spectacle of the unknown and exotic other. A more nuanced understanding can be reached by drawing upon Mary Louise Pratt’s concept of the ‘contact zone’. Pratt defined the contact zone as ‘spaces where cultures meet, clash and grapple with each other, often in contexts of highly asymmetrical relations of power’. Photographs since National Geographic’s centenary edition in September 1988 have traced the beginnings of a different view of encounters within the United States-Brazil contact zone, driven by the forces of globalisation, which have resisted the processes of objectification, appropriation and stereotyping frequently associated with the rectangular yellow border. This is because they have provided evidence of a fluid and various population, which has selected and experimented with preferred elements of American and European dress, and used it to fashion their own, distinctly Brazilian identities. This thesis will examine both the visual and textual strategies that National Geographic and National Geographic Brasil (the Portuguese-language version of the magazine, established in Sao Paulo in May 2000) have used to fashion Brazil, but also the extent to which Brazilian subjects can be seen to have self-fashioned, through the strategic appropriation of clothing and ideas derived from an existing and dominant global culture. It will approach dress not simply as cloth but as a system of communication, whose many meanings are not fixed but continually informed and to an extent, even performed, by its visual, material, and textual representation. This thesis employs a multidisciplinary mode of analysis that draws on five Brazilian scholars, each of whom have used dress and fashion metaphors in their writings, which have encompassed poetry, film studies, poststructuralist theory, literary criticism and anthropology.

No description available.

The thesis addresses the reception and consumption of Japanese fashion in the U.K. between 1980 and 2006 and concomitant constructions of Japanese identity in the critical discourses surrounding fashion. It examines the impacts of the sartorial traffic emanating from the Japanese fashion system, the creative outputs of which are polarised in Western critical thought as either unreflective cultural borrowings (Japanisation, appropriation) or as embodying an unfathomable Eastern aesthetic (zen, wabi/sabi, wa). Building on a substantive account of the cultural impacts of the initial encounters with the West, the investigation identifies sites where Japanese sartorial culture is consumed in the form of text, image and artefact. A variety of methodological approaches are mobilised in the analysis of data from retail outlets, cultural institutions and media publications. Material pertaining to "high-concept designers" whose outputs are largely consumed within visual and intellectual contexts is balanced by that from "high street apparel makers" operating in a more commercially-oriented manner. Findings regarding the role of an "intermediate matrix" of designers/brands employing creative approaches and retail strategies that supersede issues of culture, race and historicity are presented in order to map a creative continuum in contemporary Japanese fashion design. In addressing the imbrications of Japanese identity and contemporary sartorial practice, the thesis interrogates research findings from creative, commercial, critical, curatorial and mass media sources within a framework of existing academic accounts of the construction of Japan in the Western mind. The conclusion articulates new readings of the nature of "Japanese-ness" available to a globally connected audience and identifies a gendered differentiation between visual representations of Japanese-designed fashion mediated through the gatekeepers of sartorial culture in the United Kingdom.

This practice-led thesis places archival research within the framework of a contemporary art practice and proposes an interpretive reading of tailoring patterns as informative documents and inspiring drawings in their own right. Conventionally, patterns are treated only as a means to an end, aiding garment production. It is rare for patterns to be analysed by contemporary dress historians for their contribution to history. This thesis will demonstrate how tailoring patterns are undervalued and neglected, and remain a hidden craft. This qualitative research is conducted in the archive in order to gain a deep understanding of a group of patterns – here military patterns – that in turn inspired an artistic and curatorial output. An archive of uniforms worn by officers of the British Raj held at the National Army Museum was identified for this research; these uniforms were closely examined, handled and drawn in situ. The drawings were placed next to military patterns from different sources and scrutinized using a case-study method. The analysis revealed that information could be derived from the patterns making them relevant in respect to an understanding of dress history. The archival research is further interpreted in art and curatorial practice in the second half of the thesis by suggesting that patterns are unique abstracted drawings of the human form, carrying with them not only the outline of the garment but also impressions of the body. A reflective approach to the practice illustrates how the archival research became the primary source materials to create romantic Love Garden sculptures. The researcher positions his own emerging practice at the blurring of fashion, art and curatorial practice; and articulates how other artists, practitioners and designers have responded to the pattern as an object and a drawing, producing work in the context of art, fashion and design. The thesis demonstrates that military patterns and the tailoring knowledge they comprise represent rich and rewarding source materials for producing contemporary artworks, and also vital historical documents in the context of dress history.

鄺慧瑜. / "2004年6月". / 論文(哲學碩士)--香港中文大學, 2004. / 參考文獻 (leaves 19-23). / 附中英文摘要. / "2004 nian 6 yue". / Guang Huiyu. / Lun wen (zhe xue shuo shi)--Xianggang Xhong wen da xue, 2004. / Can kao wen xian (leaves 19-23). / Fu Zhong Ying wen zhai yao. / 論文撮要(中文） --- p.i / 論文撮要(英文） --- p.ii-iii / 圖表目錄 --- p.iv / 引言 --- p.1-2 / Chapter 第一章. --- 時裝歷史文獻回顧 / Chapter 1.1. --- 香港時裝歷史與文化硏究文獻回顧 --- p.3 / Chapter 1.1.1. --- 香港時裝歷史 --- p.3 / Chapter 1.1.2. --- 香港時裝文化硏究 --- p.4-7 / Chapter 1.2. --- 旗袍硏究文獻回顧 --- p.8-9 / Chapter 第二章. --- 硏究方法的論述 / Chapter 2.1. --- 硏究資料來源 --- p.10-11 / Chapter 2.1.1. --- 報紙 --- p.11-13 / Chapter 2.1.2. --- 電影雜誌 --- p.13-15 / Chapter 2.1.3. --- 電影 --- p.15-16 / Chapter 2.2. --- 硏究方法的槪述 --- p.17 / Chapter 第三章. --- 時裝理論剖析 / Chapter 3.1. --- 時裝定義 --- p.19-21 / Chapter 3.2. --- 時裝與社會硏究 --- p.21 / Chapter 3.2.1. --- 韋伯倫 --- p.22-23 / Chapter 3.2.2. --- 西美爾 --- p.24-25 / Chapter 3.3. --- 時裝與文化硏究 / Chapter 3.3.1. --- 時裝與符號 --- p.26-29 / Chapter 3.3.2. --- 時裝與流行商品文化 --- p.29-30 / Chapter 3.3.3. --- 時裝與性別 --- p.30 / Chapter 3.3.4. --- 其他理論 --- p.31-34 / Chapter 3.4. --- 中國與時裝 --- p.34 / Chapter 第四章. --- 戰前旗袍的歷史與變革 / Chapter 4.1. --- 旗袍之名稱 --- p.35 / Chapter 4.2. --- 清代婦女 --- p.36 / Chapter 4.2.1. --- 清初 --- p.36 / Chapter 4.2.2. --- 清中至末 --- p.37 / Chapter 4.3. --- 1920 年代 --- p.38 / Chapter 4.3.1. --- 女性時裝之一：襖衫/裙 --- p.38-39 / Chapter 4.3.2. --- 女性時裝之二 ：旗袍 --- p.40-44 / Chapter 4.3.3. --- 男裝 --- p.45 / Chapter 4.4. --- 1930年代 --- p.46 / Chapter 4.4.1. --- 女裝 --- p.46-47 / Chapter 4.4.2. --- 男裝 --- p.47 / Chapter 4.5. --- 1940年代至戰時 --- p.47-48 / Chapter 第五章. --- 戰前及四十年代的香港時裝 --- p.49-52 / Chapter 第六章. --- 五十年代的香港時裝 / Chapter 6.1. --- 男性時裝 --- p.53-56 / Chapter 6.2. --- 女性時裝 --- p.57 / Chapter 6.2.1. --- 旗袍 --- p.57-62 / Chapter 6.2.2. --- 西裙 --- p.62-64 / Chapter 第七章. --- 六十年代的香港時裝 / Chapter 7.1. --- 男性時裝 --- p.67 / Chapter 7.1.1. --- 西裝 --- p.68-69 / Chapter 7.2. --- 女性時裝 --- p.70 / Chapter 7.2.1. --- 旗袍 --- p.70-73 / Chapter 7.2.2. --- 西裙 --- p.74-76 / Chapter 7.2.3. --- 迷你裙 --- p.76-80 / Chapter 7.3. --- 香港時裝節 --- p.81-83 / Chapter 第八章. --- 七十年代及以後的香港時裝 / Chapter 8.1. --- 成衣的年代 --- p.84-85 / Chapter 8.2. --- 業界的發展 --- p.85-87 / Chapter 第九章. --- 香港時裝與旗袍´ؤ´ؤ旗袍的社會價値、文化轉變與象徵意義的論述 / Chapter 9.1. --- 旗袍的社會價値 --- p.88 / Chapter 9.1.1. --- 社會價値之建構 --- p.88 / Chapter 9.1.2. --- 旗袍之身份建構與表述 --- p.89-94 / Chapter 9.2. --- 文化轉變 --- p.95 / Chapter 9.2.1. --- 時裝文化的轉借與吸納 --- p.95-96 / Chapter 9.2.2. --- 混雜的時裝文化 --- p.96-99 / Chapter 9.2.3. --- 旗袍文化的對外影響 --- p.100-101 / Chapter 9.3. --- 消費品與象徵意義 --- p.102-103 / Chapter 9.3.1. --- 中國人的身份 --- p.103-106 / Chapter 9.3.2. --- 年齢的身份 --- p.107-110 / Chapter 第十章. --- 總結 / Chapter 10.1. --- 香港時裝歷史 --- p.111-112 / Chapter 10.2. --- 時裝潮流的變化理由 --- p.113-116 / 附錄： / 圖片說明目錄 附錄 --- p.1-4 / 圖片附錄 --- p.5-18 / 參考書目 附錄 --- p.19-23

Fontes documentais para o estudo da história da moda e da indumentária: o caso James Laver e novas perspectivas investiga o uso das fontes documentais na história da moda e da indumentária, no passado, atualmente e nas projeções de uso para o futuro, já sob uma perspectiva atual de conservação, preservação e manutenção através de um viés museológico e arquivístico. A base de trabalho são as propostas feitas pelo pesquisador de traje James Laver (1899-1975), um inglês que foi curador do Departamento de Gravura, Ilustração e Design do Victoria and Albert Museum / Documental Sources for the study of fashion and costume history: the case study James Laver and new perspectives investigate the use of documental sources in the history of fashion and costume, in the past, now and in future projections, under a contemporary perspective of conservation, preservation and maintenance based on archives and museology. The fundamentals of the research are based on the proposals made by the costume historian and researcher James Laver (1899-1975), an Englishman who was the Keeper of the Department of Prints, Drawings and Paintings of the Victoria and Albert Museum

This thesis explores a history of fashion and art in post-war Britain. The historical analysis of this study focuses on how institutions and spaces of public culture – such as museums, galleries, exhibitions and art schools – were used as locations for editorial photo-spreads published in the British editions of Vogue and Harper’s Bazaar between 1945 and 1962. Fashion magazines participate in the cultural production of art by depicting its institutions, its products and producers as fashionable. This thesis interrogates the ways in which the field of fashion, and fashion media in particular, thereby gives symbolic value to the field of art through its mediation. In its examination of the ways in which representations of art and fashion have been meaningfully constructed for a high fashion magazine readership, the thesis contributes to a further understanding of the relationship between fashion and art, and affords new insights into the cultural history of post-war Britain. The theoretical framework of this study engages with Agnès Rocamora’s model of ‘fashion media discourse’, which brings together the work of Michel Foucault and Pierre Bourdieu. This thesis draws upon Foucault’s work on ‘discourse’ and Bourdieu’s concept of ‘cultural production’ in order to conduct an ‘archaeology’ of post-war British fashion media and its participation in the cultural production of art. This thesis has developed Rocamora’s concept in its application to a specific historical study of fashion media. In doing so, this thesis contributes to a wider understanding of how the theoretical work of Foucault and Bourdieu can be applied in the scholarly research of fashion media and histories of fashion. This thesis contributes to the further knowledge of practices in history concerning methodologies of archival research and textual analysis.

This thesis identifies and characterises a minimal aesthetic evident in a strand of fashion emerging in New York and Paris from 1964 onwards. It examines the way in which a minimal aesthetic has been applied to the practice of fashion design and retail architecture, specifically in a high-fashion context. The research establishes that the earliest manifestation of a minimal aesthetic in fashion design, took place in 1964, in the work of the French fashion designer André Courrèges. Designers who later adopted similar principles include Jil Sander (1968), Calvin Klein (1968), Zoran Ladricorbic (1976), Donna Karan (1984), Helmut Lang (1986) and Narciso Rodriguez (1997), among others. The study identifies the origins of the principles of a minimal aesthetic and examines them through two distinct case studies that consider the practice of designers Donna Karan and Helmut Lang, both of whose work emerged during the 1980s. The investigation re-evaluates the significance of Minimalism in fashion history. It challenges accepted views of Minimalism in fashion as merely a trend of the mid-1990s, or as a local phenomenon. The thesis maintains that these principles find expression in the designers’ work, in the architecture of the flagship stores and in the inter-relationship between the two. Additionally, it investigates the meanings that these products convey to the consumer. Through an evaluation of the retail architecture, it establishes parallels between the principles of this aesthetic and earlier elements of a post-war Modernist architecture. The study of the dynamic inter-relationship between elements of fashion design and those of architecture focuses on the definition of a minimal aesthetic. Furthermore, these claims are contextualized within other fields such as material culture, cultural and historical studies and sociology. The thesis employs a qualitative methodology comprising empirical research based on case studies and object-based analysis, all of which draw upon theory that addresses the means of interpretation. The study has developed through an analysis of dress and the retail architecture associated with the case study designers’ work. Through empirical research, the research shows how contemporary attitudes, practices and theories have emerged which are essential for the analysis of dress and the spaces it inhabits. The primary sources, garments from the collections of André Courrèges, Donna Karan and Helmut Lang held at key international costume archives at the Victoria & Albert Museum, London and the Fashion Institute of Technology and the Metropolitan Museum of Art, New York, are discussed in relation to other archival and published sources.

The central theme of the thesis is how clothing and, to a lesser degree, fashion affected the lives of women in the period from 1919 to 1949. The practical impact of clothing on women is rarely assessed to the same degree as other essentials of life such as food and housing, yet obtaining, maintaining and renewing clothing stocks were issues of the utmost importance to women, particularly those from low-income households, in the inter-war period and the Second World War. The first half of the thesis concentrates upon the role of clothing in the home and in popular culture in the inter-war period. Of particular importance is the role of clothing in the household budget, a subject which has received limited attention from social historians. In households with limited incomes, finding the means to purchase clothing was problematic, and women often resorted to unconventional methods of saving and spending. The role of clothing in middle-class households is examined as well, with an emphasis on the many varieties of shops which supplied ready- to-wear clothing, as well as souces of made-to-measure clothing. And, while antiquarian and sociological studies of fashion abound, little has been written on the practical impact of fashion in the lives of ordinary people. With the development of a mass market after the First World War, the influence of fashion was extended to most of the social classes. Rather than re-examining the changing modes themselves, it is useful to study the impact these fashions had upon people: in the way they regarded and treated one another; and in the way they perceived themselves. The study of the inter-war years thus offers a foundation from which to examine the role of clothing in the Second World War. The price of clothing and footwear rose steeply in the early months of the war, but stabilised once rationing and austerity measures took hold. The ways in which women budgeted, saved for and purchased clothing are discussed, with an emphasis on how these methods differed from pre-war habits. Although the development and implementation of government initiatives is described, the latter portion of the thesis concentrates on the practical effects of such schemes in the day-to-day lives of the British people. The role of fashion in the wartime economy is addressed as well. Austerity programmes stalled any extreme changes in fashion, people wore the same clothing year after year, and uniforms were almost universal. Nevertheless, issues of fashion and style remained important to the public, who in any case were encouraged to maintain high standards of dress and appearance as a sign of patriotism.