vendredi 6 juin 2014

Producing the history of fashion in the West Symposium, may 2015, call for papers]

Producing the history of fashion in the West
Paris, 11-12-13 may 2015

This conference organised by the "Appearances, bodies, and societies" Research Interest Group is open to researchers working on the history of fashion and appearances in Europe or elsewhere, from the end of the Middle Ages up to the present day. It will provide a multidisciplinary analysis of museum and university discourses, concepts, experiments and experiences, and of their intellectual origins and the institutional frameworks within which they are produced across diverse local and national contexts. The aim is to better understand the various ways of tackling the subject so as to highlight new areas of research convergence, thereby giving new impetus to international cooperation.
For several decades now fashion has ceased to be seen as a repertoire of perpetually evolving forms for the researcher to strive to observe, with an eye to drawing up some illusory and ultimately futile inventory. In the wake of works by Georg Simmel, Norbert Elias, Roland Barthes, etc., ways of dressing and adorning the body have been analysed using concepts which place the individual within a network of social norms. Research conducted in the history of the body has added new dimensions to this field of research (such as beauty, hygiene, etc.). This could have acted as the basis over the past sixty or so years for more numerous and open forms of international cooperation to emerge with regard to the contemporary processes that promote mass fashion and generate uniform means of shaping attitudes and postures. This has not been the case, however, and many barriers persist. There is still a lack of balance in recent research, with the Scandinavian and English-speaking worlds receiving greater levels of funding than the rest of continental Europe.

Overall it is a matter of considering all academic approaches to fashion so as to see what role they fulfil and what place they have in the way knowledge in general is built up and organised in different countries. Several additional observations may act as a useful guide for the approach this conference will take to specific current problems in research into the history of fashion:
Concepts. Whilst the French concept of "apparences" has led researchers to analyse the political and social norms governing dressing, that of "clothing", for instance, has accorded greater importance to the interplay of consumerist practices, identity construction, and the individual's relationship to their body. A comparable divergence may be observed between the concepts of "mode” and “fashion”. In France the forms taken by la mode are deemed to be ephemeral and thus of no intrinsic interest. Instead, it is said, research needs to focus on the social tensions generated between the peripheries and the centres dictating these forms. Such an attitude means that the forms of clothing and their evolution are regarded as relatively unimportant, whereas the experience of researchers working in different contexts has led them to reconstitute items of clothing. In northern and eastern Europe the issue of appearances has been tackled via those of the construction of the State and/or the nation. This has also transpired to a lesser extent in the study of regional fashions in Western Europe.
The way researchers view collections and timescales. The way in which researchers view objects varies from place to place, affecting the ways in which they apprehend “mode/fashion”. This transpires in attitudes towards existing items, towards experimental archaeology and the reconstitution of costumes, and in how to tackle the thorny issue of the vocabulary used to name objects. Is it possible to draw up an overview of these various differences, on the basis of experiments carried out in the field of experimental archaeology for instance? How can we go about analysing the sources of the history of appearance when the collections are incomplete or inexistent, especially for distant periods?
These frameworks have generated different forms of history of fashion, characterised in particular by the use of specific timeframes which depend on the criteria and methods chosen in the light of the prevalent concepts. Intellectual developments in place since the 19th century mean that is feasible to draw up a history of these timeframes, especially as they affect not just the histories of fashion but also the collections of objects and the way in which these are classified and presented.
Institutional factors and networks. Institutional factors and specific networks all too frequently transmit these differences and entrench them. These factors include the place accorded to the study of fashion and textiles in academic teaching and research, the relative importance accorded to the various disciplines used (history, sociology, anthropology, etc.), and the ways in which universities, research centres, museum institutions, and collectors work together, etc. Editorial strategies and differences in the ease with which researchers can access various tools for international cooperation further add to this general diversity.

Papers may address the following themes:

1 The history of the history of fashion. The state of research into the issue.
Authors, overviews, and exhibitions which have influenced the history of fashion. What publications have had an impact on the history of fashion in the past and in the present day? The nature and objectives of publications in the West.
Concepts, timeframes, and methods used for research.

2. Writing the history of fashion – issues and approaches
How can we go about conceiving of a history of contemporary fashion? How can we produce a history of fashion without objects (for distant periods)? What role does the technical and economic context play in the histories of fashion? What place are we to accord to the materiality of the body? And to visual cultures?

3 Teaching and presenting the history of fashion
What place is given to the teaching of fashion in school and university systems? What disciplines are used for the history of fashion? What links exist between universities and museums? What role do exhibitions play in the presentation and dissemination of the history of fashion?

4 International cooperation
What forms of international cooperation are open to researchers? What about undertaking projects, their organisations and funding? Problems and difficulties encountered.
What problems arise from the scale and extent of undertaking within structures for international cooperation?

Proposals (a title, a summary of about 2000 characters, and a bibliography giving the author's main publications) are to reach the following address before 15 November 2014:

Faire l’histoire de la mode dans le monde occidental [colloque mai 2015, appel à contributions]

colloque international
Faire l’histoire de la mode dans le monde occidental
Paris, 11-12-13 mai 2015

Le colloque organisé par le GIS « Apparences, corps et sociétés » est ouvert aux chercheurs qui œuvrent sur l’histoire de la mode et des apparences, en Europe ou ailleurs, de la fin du Moyen Âge à nos jours. Il propose une réflexion pluridisciplinaire et internationale sur les expériences, les concepts et les discours des musées ou des universités, sur leurs origines intellectuelles et les cadres institutionnels qui permettent de les produire, dans la diversité des contextes locaux ou nationaux. L’objectif est de mieux comprendre les différentes logiques scientifiques pour faire apparaître de nouvelles convergences dans le domaine de la recherche, ouvrir sur une coopération internationale renouvelée.
Depuis quelques décennies, la mode a cessé d’être conçue comme un répertoire de formes en perpétuelle évolution, que le chercheur s’épuiserait à observer pour en faire l’inventaire, aussi illusoire qu’inutile. A la suite des travaux de Georg Simmel, Norbert Elias, Roland Barthes, etc., les manières de vêtir et de parer le corps ont été abordées à partir de concepts qui ont inscrit l’individu dans un réseau de normes sociales. Les recherches menées en histoire du corps ont ajouté de nouvelles dimensions (beauté, hygiène, etc.) à ce domaine de recherche. Sur ces bases, et par référence aux processus contemporains qui promeuvent les modes de masse ou uniformisent la gestion des attitudes et des postures, les quelque soixante dernières années auraient pu voir naître des coopérations internationales plus nombreuses, plus ouvertes. Tel n’a pas été le cas et bien des cloisonnements demeurent : la recherche récente n’échappe pas aux déséquilibres, en particulier entre les mondes anglo-saxon et scandinave d’une part et le reste de l’Europe continentale d’autre part.

De manière globale, il s’agit d’abord de considérer l’ensemble des approches scientifiques de la mode pour interroger leur rôle et leur place dans la construction et l’organisation du savoir, en général, d’un pays à un autre. Quelques réflexions complémentaires peuvent guider l’approche des problèmes spécifiques, actuels, de la recherche sur l’histoire de la mode :
Concepts. Alors que le concept d’« apparences » a surtout conduit à analyser les normes politiques et sociales qui régissent le vêtir, celui de « clothing », par exemple, a donné une place plus importante au jeu des pratiques consuméristes, à la construction identitaire, au rapport au corps. Cette divergence est redoublée par celle qui concerne les concepts de « mode » et de « fashion ». En France, les formes de la mode, éphémères ou jugées telles, n’auraient pas d’intérêt par elles-mêmes : c’est la tension sociale qu’elles créent entre centres prescripteurs et périphéries qui devrait retenir l’attention. Cette position a conduit à minorer l’intérêt des formes du vêtement et de leur évolution alors que d’autres expériences conduisent au contraire les chercheurs aux reconstitutions vestimentaires. Au nord et à l’est de l’Europe, les apparences ont souvent été saisies à travers les questions de la construction de l’État, de la nation, ou des deux ; ce qu’on retrouve à l’Ouest, à une échelle plus réduite, dans l’examen des modes régionales.
Rapport aux collections et temporalités. Dans les manières d’appréhender la « mode/fashion », les rapports entretenus avec les objets par les chercheurs varient d’un lieu à un autre, qu’il s’agisse des attitudes face aux pièces existantes, à l’archéologie expérimentale et aux reconstitutions de costume, ou des manières d’aborder l’épineux problème du vocabulaire par lequel on nomme les objets. Peut-on construire des bilans de ces inégalités, par exemple à partir d’expériences menées dans le domaine de l’archéologie expérimentale ? Comment aborde-t-on les sources de l’histoire des apparences lorsque les collections font défaut, notamment pour les périodes anciennes ?
Dans ces cadres naissent des histoires de la mode différentes. Elles se signalent notamment par la mise en œuvre de temporalités propres, dépendantes des critères et des méthodes que les concepts retenus ont privilégiés. Depuis le XIXe siècle, les évolutions intellectuelles permettent d’ailleurs d’envisager une histoire de ces temporalités, d’autant qu’elles affectent aussi, au-delà des histoires de la mode, les collections d’objets, leur classement ou leurs présentations.
Dispositifs institutionnels et réseaux. Des dispositifs institutionnels et des réseaux spécifiques relaient et pérennisent trop souvent les différences : place faite dans l’enseignement et la recherche universitaires à l’étude des modes et des textiles ; poids respectif des disciplines qui la prennent en charge (histoire, sociologie, anthropologie, etc.) ; manières d’articuler le travail des universités, des centres de recherche, et celui des institutions muséales ou des collectionneurs, etc. L’accès inégal des uns et des autres aux différents outils de la coopération internationale et les stratégies éditoriales ajoutent encore à la diversité.

Les contributions pourront s’orienter autour des thèmes suivants :

1 Histoire de l’histoire de la mode. Etat de la question
Auteurs, synthèses et expositions qui ont marqué l’histoire de la mode. Quelles publications pour l'histoire de la mode hier et aujourd'hui ? Nature et objectifs de celles-ci dans le monde occidental.
Concepts, temporalités et méthodes mis en œuvre par ces recherches.

2. Ecrire l’histoire de la mode, enjeux et problématiques
Comment penser une histoire de la mode contemporaine ? Comment faire une histoire de la mode sans objets (pour les périodes anciennes) ? Quelle est la part du contexte technique et économique dans les histoires de la mode ? Quelle place accorde-t-on à la matérialité du corps ? aux cultures visuelles ?

3 Enseignement et médiation de l’histoire de la mode
Quelle est la place de l’enseignement des modes dans les systèmes scolaires et universitaires ? Quelles sont les disciplines en charge de l’histoire de la mode ? Quels liens entre universités et musées ? Le rôle de l’exposition dans la médiation et la diffusion de l’histoire de la mode.

4 Coopération internationale
Quelles coopérations internationales possibles sur le plan de la recherche ? Engagement, organisation, financement. Problèmes et difficultés rencontrés.
Quels sont les problèmes de l’engagement dans les structures de coopération internationales ?

Les propositions de communication (un titre, un résumé de 2000 signes environ, une bibliographie donnant les principales publications de l’auteur) devront parvenir avant le 15 novembre 2014 à l’adresse suivante :

vendredi 30 mai 2014

Exposed: A History of Lingerie [exposition/exhibition : New York, USA]

Exposed: A History of Lingerie
Museum at FIT, New York, 3 June — 15 November 2014
The Museum at FIT presents Exposed: A History of Lingerie, an exhibition that traces developments in intimate apparel from the 18th century to the present.Exposed features over 70 of the most delicate, luxurious, and immaculately crafted objects from the museum’s permanent collection, many of which have never before been shown. Each piece illustrates key developments in fashion, such as changes in silhouette, shifting ideals of propriety, and advancements in technology.
The concept of underwear-as-outerwear is most commonly associated with the 1980s, but the look of lingerie has long served as inspiration for fashion garments. Exposed opens with several pairings of objects that underscore that connection. For example, a 1950s nylon nightgown, made by the upscale lingerie label Iris, is shown alongside an evening gown by Claire McCardell, also a 1950s garment, created in a similar fabric and silhouette. McCardell was one of the first designers to use nylon—a material typically marketed for lingerie—for eveningwear. A 2007 evening dress by Peter Soronen features a corset bodice, the construction of which is highlighted with bright blue topstitching. It is flanked by two 19th-century corsets, one made from bright red silk, the other from peacock blue silk.
The exhibition then continues chronologically. The earliest object on view is a sleeved corset (then called stays), circa 1770, made from sky-blue silk with decorative ivory ribbons that crisscross over the stomach. Stiffened with whalebone, 18th-century corsets straightened the back and enhanced the breasts by pushing them up and together. While they were essential to maintaining both a woman’s figure and her modesty, corsets also held an erotic allure.
Women’s undergarments were generally modest in the first half of the 19th century. This is exemplified by a dressing gown from circa 1840, made from white cotton. Although the dressing gown was simply designed and meant to be worn within the privacy of a woman’s boudoir, its full sleeves and smocked, pointed waistline mimic fashionable dress styles of the era.

jeudi 29 mai 2014

On Aura tout vu : Sensations

Nouvelle exposition : du 14 juin au 31 décembre 2014 à la Cité internationale de la dentelle et de la mode de Calais

Plongez vous dans l’univers poétique et décalé de la maison de couture on aura tout vu
La Cité internationale de la dentelle et de la mode accueille la maison de couture On aura tout vu. Fidèle à la dentelle depuis leurs débuts en 1998, les créateurs jouent avec les codes de la mode en toute liberté. Broderie, peinture, soudure, sculpture, impression textile se juxtaposent, brouillant les frontières entre la mode, les arts plastiques et le costume de scène. Leur mode extravagante et festive repose sur la fabrication de sensations, véritable fil conducteur revendiqué par la maison. L’exposition s’articule en petits théâtres à découvrir selon un parcours interactif, rythmé de surprises sonores et olfactives. Modèles issus des collections, créations uniques pour le show-biz, objets revisités, c’est un univers éclectique, poétique et ludique qui vous attend !

Pour voir la bande annonce de l'exposition, cliquer ici.

mercredi 28 mai 2014

Lace and Commerce in 18th Century Europe (Rotterdam, 27-31 Jul 14) [call for papers]

Call for papers 
Deadline: Jun 16, 2014 
CFP: “The International Thread: Lace and Commerce in Eighteenth-Century Europe” 
Opening Markets: Trade and Commerce in the Eighteenth CenturyISECS Quadrennial Congress, on the Enlightenment, Rotterdam, the Netherlands, 27 - 31 July 2015 
Chairs:  Tara Zanardi, (Department of Art & Art History, Hunter College/CUNY 695 Park Avenue, New York, NY 10065;, and Michael Yonan, (Department of Art History and Archaeology, University of Missouri, 21 Parker Hall, Columbia, MO, 65211; amounts of lace flooded the marketplaces of eighteenth-century Europe, which fostered a vibrant international trade.  This marketplace centered on competition between the Low Countries (especially the regions that now comprise Belgium) and northern France, two areas that  included Europe’s most technically accomplished lacemaking centers, including Alençon, Argentan, Brussels, Mechlin, and Valenciennes.   
These towns exported huge quantities of lace to an international clientele and competed with locally manufactured lace.  Our panel seeks  papers that examine how lace operated within eighteenth-century  mercantile networks, economic systems, and black markets.  What were the trade factors the affected the distribution of lace, both locally  and globally, and how did those factors affect working conditions, design choices, and the objects created?   How did these market conditions affect what lace was used for, be it garments, decorative items, or household textiles?  Topics might include treatments of lace and lace making in gendered terms, as statements of regional or national pride, labor practices in lacemaking, techniques and  materials, and the industry’s global ambitions.  Interdisciplinary papers are especially welcome. 
For more information, see the congress websites:

samedi 3 mai 2014

Fashion, Function and Ornament: Accessorising the Long Eighteenth Century [appel à contribution]

In fashion the term ‘accessory’ covers a wide range of items such as gloves, sashes, reticules, spectacles, watches, parasols, and potentially many other articles. Accessories can be seen as marginal to the nature of fashion, but historically they have played a key role in shaping the character of men’s and women’s fashions, combining ornament and function and giving scope for the expression of individual and collective identities. The era from the late Stuart to the early Victorian period saw the accessory achieve new prominence as a fashion statement, an expression of wealth, status and taste, and a desirable object of consumption, possession and display.
This symposium aims to bring together interested parties from curatorial, conservation, academic and other backgrounds with an interest in fashion, textiles, clothing and related topics to explore the nature and significance of accessories in the history of fashion from c.1660 to c.1840. Relevant topics to be addressed in contributions to the symposium may include (but would certainly not be limited to) the gender, class and identity dimensions of the accessory, collecting and collections cultures of consumerism and consumption, style, fashion and ornament, exoticism and the antique in accessory design and ornament, and the accessory in the visual and literary culture of the ‘long eighteenth century’.
Proposals are invited for symposium contributions not exceeding 20 minutes in length. Please send outlines of c.200 words to by Monday 28 July 2014. Please direct any queries about the symposium to the same email address.
York Hilton Hotel and Fairfax House, York, 19 September 2014
Proposals due by 28 July 2014

vendredi 2 mai 2014

La Chapellerie Atelier-Musée du chapeau [Chazelles-sur-Lyon]

La Chapellerie est un Atelier-Musée qui s’attache à la conservation de la mémoire chapelière des Monts du Lyonnais (à Chazelles-sur-Lyon) et à la sauvegarde active des savoir-faire. Il est labellisé « Musée de France».
Pour en savoir plus, cliquer ICI