Doing the Laundry? A Reassessment of Object-based Dress History

Taylor, Lou

doi:10.2752/136270498779476118

Cited by 45 publications

(21 citation statements)

References 12 publications

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“…Identifying the one area that these faculty members would like to explore (a design detail such as darts or zippers as used in functional design for example) may be a valuable way to introduce the collection to this reluctant audience. Similarly to the idea of Taylor (1998) that not all know how to teach with objects, testimonials of the importance of historic costume and textile collections from successful and prominent alumni may move the needle towards acceptance of the resources needed for collection maintenance and growth.…”

Section: Discussionmentioning

confidence: 99%

“I Should Probably Know More:” Reasons for and Roadblocks to the Use of Historic University Collections in Teaching

Marcketti

Gordon

2019

Journal of Conservation and Museum Studies

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The 19 th century witnessed the emergence of university and art museums in Europe and the United States. Collections within these museums were often started through personal objects or bequests for the improvement of the university and its constituents, serving an important part of the research and teaching mission of these institutions (Boylan 1999). The collections, or groups of objects stored in one location, often focused on a particular subject, such as fine art, botany, zoology, etc. Or in the case of the Courtland Institute of Art of the University of London, a collection of textiles and French Impressionist works donated by textile industrialist Samuel Courtauld (Boylan 1999). Today, academic collections of historic dress and textiles can range from small groups of objects to multiple collections housed and exhibited in world-renowned institutions such as the Fashion Institute of Design and Merchandising in Los Angeles (Welters and Ordoñez 2011). The use of objects from collections of dress and textiles can make subjects such as dress history come to life. As stated by Riello (2011: 1): 'At an analytical level, the study of fashion and the history of fashion in particular, includes both abstract concepts and material objects'. It is the critical reflection on the material culture object that is a pivotal element in the repertoire of skills for industry professionals (Ryan and Brough 2012). As Sauro (2009: 1939) noted, the study of real garments was often considered ' essential' when teaching techniques and construction to apparel students. Even with the plethora of online and digitized images of historic textiles and clothing, the material object provides a tactile example that deepens the knowledge base contributing to more complex scholarly interpretation (Riello 2011). Indeed, previous scholars have found that examining historic textiles and clothing provides students with experiential learning opportunities to increase their creativity, enhance their understanding of fashion history, and provide connections between coursework in dress history and apparel design (Gam and Banning 2012). Historic dress and textile collections serve as valuable resources that help support the teaching, research, and outreach mission of many colleges and universities (Welters and Ordoñez 2011). Additionally, collections can be used as a fundraising tool for private donors. Managing these collections is a challenge however, particularly due to lack of time, money, and expertise. As such, in their seminal monograph Welters and Ordoñez provided ten guidelines to aid managers and administrators of such collections in the areas of mission, staff, organizational system, storage, policies for accessioning, deaccessioning, loaning objects, classroom use, exhibition, emergency response and recovery, and documentation of a collection's value to the university. Despite the amount of work and resources necessary for the proper functioning of historic textile collections and museums, the close examination of clothing can enrich underst...

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Section: Discussionmentioning

confidence: 99%

“I Should Probably Know More:” Reasons for and Roadblocks to the Use of Historic University Collections in Teaching

Marcketti

Gordon

2019

Journal of Conservation and Museum Studies

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“…Embora tais informações sejam válidas, é preciso considerar que podem não ser completas. Taylor (1998) cita Fine and Leopold (1993), que argumentam que a abordagem da cultura material no estudo da moda é uma prática de registro totalmente descritiva, defendendo o estudo histórico da roupa mais pelo seu aspecto de consumo do que por seus detalhes, tais como um babado. Entretanto, Taylor argumenta que não há como estudar o contexto de consumo sem ser através da decodificação de valores culturais encontrados em detalhes.…”

Section: Cultura Materials E Estudos Históricos Da Modaunclassified

Design de moda brasileiro – uma abordagem da cultura material

Gies¹

2013

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This paper presents considerations on contemporary Brazilian fashion design as cultural evidence. The methodology for primary data collection is a unique case study using the material culture approach to examine a dress by Karlla Girotto, using the method developed by Jules Prown and interview. The results show how the design elements texture, shape and colour embody and express Brazilian culture aspects.

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“…Indeed, simply finding collections of dress in museums is a 20thcentury phenomenon (Taylor, 1998); the Metropolitan Museum in New York City included dress in its collections in 1944 and the Museum of Costume in Bath, England, opened in 1963. Indeed, simply finding collections of dress in museums is a 20thcentury phenomenon (Taylor, 1998); the Metropolitan Museum in New York City included dress in its collections in 1944 and the Museum of Costume in Bath, England, opened in 1963.…”

Section: Why Is the Study Of Materialsmentioning

confidence: 99%

“…Taylor (1998) believes that the main criticism of an object-based study of dress has centered on the past tendency to descriptive minutiae, at the expense of grounding in cultural context. Taylor (1998) believes that the main criticism of an object-based study of dress has centered on the past tendency to descriptive minutiae, at the expense of grounding in cultural context.…”

Section: Applications Of Materials Culture Analysismentioning

confidence: 99%

Constructing Knowledge for the Future

Hodges

DeLong

Hegland

et al. 2007

Clothing and Textiles Research Journal

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Clothing and textiles research is examined within a futuring framework to discuss potential avenues for development of thought within the field. A philosophical perspective linking ontology, epistemology, and methodology is posited as important to exploring assumptions that guide the research process. The material culture studies perspective, the feminist social science perspective, and the critical science perspective are discussed as three potential ways of approaching the subject matter in need of mainstreaming as we look to the future of knowledge production within clothing and textiles. Based on this discussion, ideas and implications for scenario-building in the traditional futures sense are presented.The past gives us knowledge and experience, and the present gives the power to change things, together, the past and present allow us to envision-and shape-the future.

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Doing the Laundry? A Reassessment of Object-based Dress History

Cited by 45 publications

References 12 publications

“I Should Probably Know More:” Reasons for and Roadblocks to the Use of Historic University Collections in Teaching

“I Should Probably Know More:” Reasons for and Roadblocks to the Use of Historic University Collections in Teaching

Design de moda brasileiro – uma abordagem da cultura material

Constructing Knowledge for the Future

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