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Introduction: Telling the Story of Fashion Heritage
Abstract
Fashion heritage is often regarded as something static, to be preserved, of high value and therefore not directly accessible to everyone. In this book we try to challenge this conception of fashion heritage, using as a core concept what heritage is about in cultural and immaterial terms: narrative. It is through this narrative that objects related to everyday life achieve a special glamour, a certain “allure”, as they are material evidence of human life on Earth. It is through the narrative embedded in certain objects—here, fabrics, apparel, jewellery, and accessories—that they attain their value and interest in terms of preservation. In social sciences, narrative is also a way of building theory. What we are looking for in this regard is the consistency of the narrative. Without narrative, human knowledge would not be possible. Narrative therefore has a strength of its own and is not limited to the repetition of “formula”; it is the basis for creativity and innovation that take us to new worlds. Before designing the boat, one must have the dream of sailing away. In this introduction we want to explore narrative as a line of thought that links the past to the present in a dream of the future.
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The last decade has seen the growing popularity and visibility of fashion as a cultural product, including its growing presence in museum exhibitions. This book explores the history of fashion displays, highlighting the continuity of past and present curatorial practices. Comparing and contrasting exhibitions from different museums and decades—from the Paris Exposition Universelle of 1900 to the Alexander McQueen Savage Beauty show at the Metropolitan Museum of Art in 2011, and beyond—it makes connections between museum fashion and the wider fashion industry.
By critically analyzing trends in fashion exhibition practice over the 20th and early 21st centuries, Julia Petrov defines and describes the varied representations of historical fashion within British and North American museum exhibitions. Rooted in extensive archival research on exhibitions by global leaders in the field—from the Victoria and Albert and the Bath Fashion Museum to the Brooklyn and the Royal Ontario Museums—the work reveals how fashion exhibitions have been shaped by the values and anxieties associated with fashion more generally.
Supplemented by parallel critical approaches, including museological theory, historiography, body theory, material culture, and visual studies, Fashion History in the Museum demonstrates that in an increasingly corporate and mass-mediated world, fashion exhibitions must be analysed in a comparative and global context. Richly illustrated with 70 images, this book is essential reading for students and scholars of fashion history and museology, as well as curators, conservators, and exhibition designers.
Note de synthèse du rapport rédigé pour le Département des études et de la prospective du Ministère de la Culture et de la Communication Février 2003 2 Présentation Lorsque nous avons relevé le défi d'analyser le monde de la mode, ce n'était pas pour mettre l'accent sur la gestion interne de la mode par ses entreprises, ses organisations collectives ou ses autorités de tutelle. Des études d'excellente qualité existent déjà, en France et en Italie, et sont l'oeuvre de ceux qui connaissent bien la mode, de l'intérieur. Nous ne voulions pas non plus réaliser une étude d'économie industrielle relative à la branche textile-habillement ou à sa composante mode ; il en existe également d'excellentes. Nous ne prétendions pas, enfin, proposer un essai de sociologie de la mode. Nous avons choisi de porter un regard d'économiste sur les mutations du monde de la mode à l'heure où elle bruisse tout autant du tohu-bohu des défilés spectacles que des annonces solennelles de désengagement et des rumeurs de l'agonie de la Haute Couture. A l'heure aussi des concurrences étrangères plus rudes, qui menacent l'hégémonie de la mode parisienne. A l'heure enfin de l'irruption dans le monde de la mode de celui de la finance et des groupes du luxe. Nous avons choisi d'approcher la mode à partir de deux séries de concepts, les premiers relatifs à la théorie économique de la créativité, les seconds à l'analyse économique du patrimoine. Nous avons, donc, considéré le monde de la mode, dans sa dimension économique, comme une économie de la créativité et du patrimoine.
This article reconsiders (self-)critically the constitution of the scholarly phenomenon called the ‘narrative turn’. Based on the intellectual autobiographical experiences of the author, it is argued that the turn may be understood as having proceeded in three successive phases: as an interest in narrative theory and research; as recognition of narrative inquiry as a field; and as an explicit identity concept. In order to resist straightforward chronology, it is suggested that instead of one fixed narrative turn, we should talk about at least four different turns with different agendas and attitudes toward narrative: firstly, the turn in literary theory in the 1960s; the turn in historiography following literary narratology; the turn in social sciences from the 1980s onwards; and finally a more broadly cultural and societal turn to narration. There is no simple plotline or causal chain between these layers; instead they tend to receive locally idiosyncratic articulations. Understanding the different agendas of different disciplines is understood to be crucial for cross-disciplinary discussions, and may help to reformulate individual scholars' own sets of priorities.
The past remains essential - and inescapable. A quarter-century after the publication of his classic account of man's attitudes to his past, David Lowenthal revisits how we celebrate, expunge, contest and domesticate the past to serve present needs. He shows how nostalgia and heritage now pervade every facet of public and popular culture. History embraces nature and the cosmos as well as humanity. The past is seen and touched and tasted and smelt as well as heard and read about. Empathy, re-enactment, memory and commemoration overwhelm traditional history. A unified past once certified by experts and reliant on written texts has become a fragmented, contested history forged by us all. New insights into history and memory, bias and objectivity, artefacts and monuments, identity and authenticity, and remorse and contrition, make this book once again the essential guide to the past that we inherit, reshape and bequeath to the future.
Fashion ephemera–from catalogues and invitations to press releases–have long been overlooked by the fashion industry and fashion academics. Fashion Remains redresses the balance, putting these objects centre stage and focusing on the wider creative practice of contemporary fashion designers, photographers, graphic designers, make-up artists and many more. Fashion ephemera are considered not as disposable promotional devices, but as windows into hidden networks of collaboration and value creation in the fashion system.
Taking an interdisciplinary approach, Fashion Remains explores the unseen and privately circulated fashion ephemera produced by today’s most prominent international fashion designers such as Margiela, Yamamoto and Raf Simons. Showcasing a unique archive of materials, it focuses on Antwerp’s avant-garde fashion scene and reveals the potential of these ephemeral objects to evoke and call into question material and immaterial knowledge about the fashion industry’s actors, practices and ideologies.
Heritage has burgeoned over the past quarter of a century from a small élite preoccupation into a major popular crusade. Everything from Disneyland to the Holocaust Museum, from the Balkan wars to the Northern Irish troubles, from Elvis memorabilia to the Elgin Marbles bears the marks of the cult of heritage. In this acclaimed 1998 book David Lowenthal explains the rise of this obsession with the past and examines its power for both good and evil.
This article explores fashion collecting and dress exhibitions in nineteenth-century France. The first three exhibitions of historic dress in France, which occurred in 1874, 1892, and 1900, raised a host of questions for French dress historians, collectors, and curators: they debated how historical dress should be displayed, what kind of garments should be collected, and what role fashion had in the narrative of French history. This article explores the “historical turn” in dress history, which formalized the practice of using historical garments and accessories as sources for the writing and display of history. It also examines how the shift from industrial to decorative arts spurred an interest in fashion collecting. Finally, it argues that the spectacularization of fashion display between 1874 and 1900 had an impact on the garments themselves, as collectors and curators began to alter garments in order to display them within imaginative settings. Rather than condemning these restorations, this article proposes that we view them as forms of historical imagination.
De l'investiture sociale du vêtement à la vestignomonie, l'étude générale du costume invite à s'introduire dans l'intimité du patrimoine. objet du quotidien, issu du privé, il entre au musée comme au panthéon des identités passées. Le renouveau de l'histoire de l'art, sous l'impulsion des visual et des cultural studies, interroge par une approche pluridisciplinaire les différents aspects de l'histoire des apparences, du genre, de la construction de soi, des codes, des signes, et des représentations du corps. Le chantier ouvert par Georges Vigarello continue d'inspirer les recherches sur l'histoire du costume et des modes. Dans un premier temps il s'agit de comprendre comment le costume est entré dans une définition patrimoniale. Autrement dit le projet s'enquiert de savoir comment le vêtement est pensé comme objet du patrimoine : objet d'histoire, objet d'études, objet de collection, et objet de mémoire. L'étude des apparences vestimentaire, leur rapport à la construction de l'individu et des identités, suppose d'écrire l'histoire culturelle et visuelle du costume. Il s'agit ensuite de comprendre ce qu'est un musée textile et de savoir comment l'exploiter. Tel un réceptacle mais aussi un réflecteur de la culture des sociétés occidentales, nous proposons une approche du vêtement analogue à celle de l'archive. ainsi le traitement archivistique passe par l'analyse des systèmes de conservation, de gestion, et de mise en valeur de l'objet, pour qu'enfin le musée du costume devienne un outil de la recherche. Cependant un malaise persiste quant au traitement du costume en lui-même. objet fragile et rare selon les époques, il est strictement gardé dans les réserves des musées, et reste difficile d'accès. C'est ainsi que l'historien-chercheur et le conservateur sont amenés à partager leurs problématiques et leurs expériences. universitaires et professionnels de la culture se croisent au détour d'une discipline émergente : la muséologie. Capable d'intervenir à tous les niveaux des besoins de l'objet de musée, elle répond aux problématiques de traitement archivistique du costume, tout en assurant son impératif de démonstration. http://museotextile.com/
This book offers a critique of the dominant conceptualization of heritage found in policy, which tends to privilege the white, middle and upper classes. Using Britain as an illustration, Waterton explores how and why recent policies continue to lean towards the predictable melding of cultural diversity with tendencies of assimilation.
This article explores the collision of fashion with the modern art museum. Fashion exhibitions have been the source of much animosity and criticism among cultural arbiters and power brokers, while also being highly popular amongst museumgoers. Taking the controversial travelling Giorgio
Armani retrospective initially staged at the Guggenheim Museum (New York) in 2000 as the focal point, the article argues how a non-avant-garde designer of Armani's stature troubles the steadfast cultural, conceptual and corporeal economies of the modern art museum.
The purpose of this article is twofold. I propose a rereading of the history of the modern garment industry as a reflection of changing representations of art and industry. At the same time I will show how French industrial discourse, in particular, can help us reexamine the shift in values attributed to both sides of this modern dichotomy. The garment industry offers a perfect vantage point for examining these two poles of production in the age of mass production. We can see how a language of art has at times been at war with the imperatives of productivity and how French garment industrialists have attempted to reconcile the two by constructing an industrial image incorporating an otherwise troublesome discourse on art. Furthermore, in the battle over customers, we can see how women are both praised and blamed in the art-industry debate and how culture--a differentiation between French women and others--is used to explain French garment makers' successes and difficulties on the world market.
Les Archipels du passé. Le Patrimoine et son histoire
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Patrimoine” und “Kulturerbe”. Eine vergleichende historische Semantik
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