Fashion Time: Enacting Fashion as Cultural Heritage and as an Industry at the Museum of Decorative Arts and Design in Oslo

Hjemdahl, Anne-Sofie

doi:10.1080/17569370.2016.1147695

Cited by 4 publications

(1 citation statement)

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“…Anne-Sofie Hjemdahl (2016) suggests that by the 1930s, museological discourses of art and design had shifted from exhibiting an organization of material typologies and highlighting particular aesthetic excellence to adding historical contextualization that emphasized periodicity. She shows how this approach enabled the construction of male curatorial authority distanced from female fashion consumption and also demonstrated modernist principles of linear progress through time.…”

Section: Within and Without Historymentioning

confidence: 99%

Fashion, History, Museums Inventing the Display of Dress

Petrov¹

2020

Dress

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Notes 199 References 206 Index 227 CONTENTS 1.1 Unknown photographer, press image, c. 1912: "Costumes Added to the London Museum, Kensington Palace. Tudor caps (in top row) and shoes of the 15th century (two bottom rows)," London Museum Photo Albums, Museum of London archives. © Museum of London 16 1.2 Two postcards from the Metropolitan Museum of Art, American Wing series, 1924. Models are wearing dresses from the Ludlow gift (11.60.232a,b and 11.60.230). Author's collection 19 1.3 Undated postcard showing wax figures wearing costumes from the collection of the Society for Historical Costume in the Musée Carnavalet. Author's collection 24 2.1 William McConnell, "Eight O'Clock A.M.: Opening Shop," from page 87 of Twice Round the Clock; or, The Hours of the Day and Night in London (Sala 1859) 34 2.2 Modern and museum fashion at the Met. Original caption: "These comparisons between the ultrasmart evening gowns of today and those worn by the well dressed lady of fashion a century or more ago were made in the fashion wing of the Metropolitan Museum of Art, where the Costume Institute's collection of gowns, depicting the evolution of fashions for several hundreds of years, is on display. The 1954 fashions were designed by James Galanos of California, winner of the 12th annual Coty American Fashion critics Award. In the photo at left the Galanos creation (left) is a gold and black metallic evening gown built over a pellon and black silk taffeta. Compare it with the ball gown of cloth of silver vertically striped with blue silk and gold tinsel, brocaded in polychrome and trimmed with silver lace, beside it, which dates from the 18th century, Louis XV period. French, of course." Bettmann/Getty Images 42 2.3 Edwardian wax mannequin models, an eighteenth-century outfit at the Museum of Costume, Bath, c. 1980. Courtesy Gail Niinimaa 47 2.4 Brooklyn Museum Archives. Records of the Department of Photography.

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Section: Within and Without Historymentioning

confidence: 99%