Signs of Wear: Encountering Memory in the Worn Materiality of a Museum Fashion Collection

Bide, Bethan

doi:10.1080/1362704x.2017.1290204

Cited by 18 publications

(3 citation statements)

References 21 publications

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“…A recent vein of creative historical research has highlighted that material encounters and material sources can be rich resources for historical geographers (Bide 2017(Bide , 2019Haines 2019;Slatter 2019a/b;Stockton 2019). For my own part, I have developed methodological and curatorial strategies that have used taxidermy specimens as the starting point for historical recovery.…”

Section: Avian Accessory As Archivementioning

confidence: 99%

Feather-Work: A Fashioned Ostrich Plume Embodies Hybrid and Violent Labors of Growing and Making

Patchett

2021

GeoHumanities

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This paper uses a fashioned ostrich plume to conceptualise and re-present ostrich "featherwork" as being co-constituted by human and non-human labor. The plume archives not only the human hands that fashioned it but also the bird-body that grew the feathers, insisting it be conceptualised and researched as a grown-made commodity. From this starting point I reconstruct its journey along the "feather-road": from reared and plucked ostrich on a South African ostrich farm to willowed plume in Euro-American sweatshops. By fleshing-out the "hybrid labor" (Battistoni 2017) involved in the plume's growing and making, I demonstrate that feather-work not only exploited indigenous African, indentured migrant and sweated immigrant human laborers, but how it yoked the reproductive and metabolic labor of ostriches. By doing so the paper illustrates how this luxury feather-fashion accessory is historically implicated in colonial, economic and ecological violence, locating the troubling journeys of fashion's "bio-commodities" (Crewe 2017) further back in time.

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Section: Avian Accessory As Archivementioning

confidence: 99%

Feather-Work: A Fashioned Ostrich Plume Embodies Hybrid and Violent Labors of Growing and Making

Patchett

2021

GeoHumanities

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“…Within a museum context, this process of constructed encounter shapes both the ongoing emotional responses and understanding of both individuals who personally experienced the objects in a past time and place as well as those approaching objects as historical artifacts. In short, museums are places which actively shape individual and collective memories (Bide 2017 andHirsch 1997, p.249).…”

Section: Curating Emotional Experiences In Museumsmentioning

confidence: 99%

In their shoes: using fashion objects to explore the duration and complexity of wartime experiences

Bide

2020

Critical Military Studies

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Experiences of conflict rarely adhere to the historical confines of defined dates. Although the Second World War was officially brought to a close on 2 September 1945, the emotional legacy of the conflict lingered. Drawing on objects from the Museum of London, this article investigates how fashion objects can be used to highlight the long-term impacts of conflict. By looking at how people reused, saved and fetishised wartime objects in peacetime, it shows how emotional reactions of hope, disappointment and lingering resentment manifested themselves through practices of dressing, as well as demonstrating the uneven impact of conflict across class and gender boundaries.

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“…There has been a recent growth of interest among fashion history researchers seeking to understand the worn, dirty and distressed in dress (see, for example, Bide 2017;Sampson 2020). The aim of this article is to look beyond the storied romance of second-hand garments' patina effects as treasured items, to instead examine the cultural values of clothes that are unwanted and have reached the end of their desirable lives.…”

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confidence: 99%

Emptying the Wardrobe, Clearing the House: A Microcosmic View into the Creation and Destruction of Clothing Value

Pollen¹

2022

JOMEC Journal

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House clearance companies frequently operate as the first brokers of goods as they move from first-hand usage to second-hand repurposing or to disposal. Especially in their end-of-life formation, house clearers process and disperse diverse ranges of unwanted goods, accumulated over lifetimes, making commercial decisions at speed about their next directions. The small-scale study of UK house clearance practice is underpinned by empirical observation of disposal and dispersal processes at three key points-the cleared house, the waste processing site, and the reselling location-and by interviews with those who make the choices about what to keep and what to trade, as well as with those who buy it and sell it on. Taking a material culture approach that draws on wardrobe studies, garment biographies, and design histories, this study puts disembodied dress at its centre. It examines how clothes can move, in less than a week, out of wardrobes and into the domain of second-hand dealers and consumers, through declining scales of value, until garments are given away for free. What remains unwanted at the end of this process is culturally marked by many rejecting hands and constitutes the lowest ebb of utility and desirability, illuminating how cultural and financial value is constructed and deconstructed through local and global circuits of manufacture and reuse, and ultimately how waste is classified and produced.

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Signs of Wear: Encountering Memory in the Worn Materiality of a Museum Fashion Collection

Cited by 18 publications

References 21 publications

Feather-Work: A Fashioned Ostrich Plume Embodies Hybrid and Violent Labors of Growing and Making

Feather-Work: A Fashioned Ostrich Plume Embodies Hybrid and Violent Labors of Growing and Making

In their shoes: using fashion objects to explore the duration and complexity of wartime experiences

Emptying the Wardrobe, Clearing the House: A Microcosmic View into the Creation and Destruction of Clothing Value

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