Upload
jc-south
View
212
Download
0
Embed Size (px)
DESCRIPTION
Historic Costume Overview
Citation preview
CHAPTER ONEINTRODUCTION © 2010 Fairchild Books,
A Division of Condé Nast Publications
Click anywhere in the slide to view the next item on the slide or to advance to the next slide. Use the buttons below to navigate to another page, close the presentation or to
open the help page.
C H A P T E R O N E
INTRODUCTION
CHAPTER ONEINTRODUCTION © 2010 Fairchild Books,
A Division of Condé Nast Publications
Click anywhere in the slide to view the next item on the slide or to advance to the next slide. Use the buttons below to navigate to another page, close the presentation or to
open the help page.
Copyright © 2010Fairchild Publications, Inc.
All rights reserved. No part of this presentation covered by the copyright hereon may be reproduced or used in any form or by any means–graphic, electronic, or mechanical, including photocopying, recording, taping, or information storage and retrieval systems–without written permission of the publisher.
ISBN: 978-1-56367-806-6
GST R 133004424
CHAPTER ONEINTRODUCTION © 2010 Fairchild Books,
A Division of Condé Nast Publications
3
Clothing has existed since prehistoric times. Why do people wear clothes?
Protection Status Modesty Decoration
CHAPTER ONEINTRODUCTION © 2010 Fairchild Books,
A Division of Condé Nast Publications
4
Decoration seems to be the most basic motivation for dress.
CHAPTER ONEINTRODUCTION © 2010 Fairchild Books,
A Division of Condé Nast Publications
5
• Function: Style must permit required activities • Availability of materials.
Type of dress worn may be limited by:
Southern Russian Slavs preparing hemp fibers.Filipino women weaving hats from bamboo fibers.
CHAPTER ONEINTRODUCTION © 2010 Fairchild Books,
A Division of Condé Nast Publications
Dress can be divided between draped and tailored clothing.
6
CHAPTER ONEINTRODUCTION © 2010 Fairchild Books,
A Division of Condé Nast Publications
Draped clothing is made from woven lengths of cloth, loosely fitted, good for warm climates.
7
CHAPTER ONEINTRODUCTION © 2010 Fairchild Books,
A Division of Condé Nast Publications
Tailored clothing is cut and sewn, is close-fitting, and is good for cool climates.
8
CHAPTER ONEINTRODUCTION © 2010 Fairchild Books,
A Division of Condé Nast Publications
There are also clothes that combine draping and tailoring.
9
CHAPTER ONEINTRODUCTION © 2010 Fairchild Books,
A Division of Condé Nast Publications
Technology limits or expands options
• Made by hand
• Mechanized
• Powered by electricity
10
CHAPTER ONEINTRODUCTION © 2010 Fairchild Books,
A Division of Condé Nast Publications
Social mores and customs may limit or expand clothing choices
11
CHAPTER ONEINTRODUCTION © 2010 Fairchild Books,
A Division of Condé Nast Publications
In the study of historic costume, there are underlying themes related to dress
A theme is “a recurring or unifying subject or
idea.” (Webster 1988)
12
CHAPTER ONEINTRODUCTION © 2010 Fairchild Books,
A Division of Condé Nast Publications
Some themes that appear throughout the study of the
history of dress include:
13
CHAPTER ONEINTRODUCTION © 2010 Fairchild Books,
A Division of Condé Nast Publications
Social Life, Social Class
Structure, and Social Roles,
Including Those Related to
Gender14
CHAPTER ONEINTRODUCTION © 2010 Fairchild Books,
A Division of Condé Nast Publications
15
Changes and/or patterns in social Changes and/or patterns in social behaviorbehavior——what we might refer to what we might refer to
as “lifestyles”as “lifestyles”
CHAPTER ONEINTRODUCTION © 2010 Fairchild Books,
A Division of Condé Nast Publications
The function of dress in the social context can include:
16
CHAPTER ONEINTRODUCTION © 2010 Fairchild Books,
A Division of Condé Nast Publications
Designation of gender differences
17
CHAPTER ONEINTRODUCTION © 2010 Fairchild Books,
A Division of Condé Nast Publications
Designation of status
18
CHAPTER ONEINTRODUCTION © 2010 Fairchild Books,
A Division of Condé Nast Publications
Identification of group membership
19
CHAPTER ONEINTRODUCTION © 2010 Fairchild Books,
A Division of Condé Nast Publications
Ceremonial use of clothing
President Grover Cleveland’s wedding as reproduced in Harper’s Weekly
20
CHAPTER ONEINTRODUCTION © 2010 Fairchild Books,
A Division of Condé Nast Publications
Certain themes grow out of the historical context, such as:
21
CHAPTER ONEINTRODUCTION © 2010 Fairchild Books,
A Division of Condé Nast Publications
22
Politics: Leaders as Style Setters
CHAPTER ONEINTRODUCTION © 2010 Fairchild Books,
A Division of Condé Nast Publications
c. 1250 c. 1370 c. 1580
Politics: War and Conflict as Style Setters
23
CHAPTER ONEINTRODUCTION © 2010 Fairchild Books,
A Division of Condé Nast Publications
24
Economics: The trade of textiles and apparel
CHAPTER ONEINTRODUCTION © 2010 Fairchild Books,
A Division of Condé Nast Publications
Technology: The production of textiles and apparel
Massachusetts Textile Mill Worker25
CHAPTER ONEINTRODUCTION © 2010 Fairchild Books,
A Division of Condé Nast Publications
26
Communication: The dissemination of styles
CHAPTER ONEINTRODUCTION © 2010 Fairchild Books,
A Division of Condé Nast Publications
CROSS-CULTURAL INFLUENCES IN DRESS
As cultures come into contact, there is a reciprocal exchange of new ideas, resulting in
styles that are MIXTURES, and a process called CULTURAL AUTHENTICATION
27
CHAPTER ONEINTRODUCTION © 2010 Fairchild Books,
A Division of Condé Nast Publications
Mixtures are styles that incorporate components from several cultures
28
The cheongsam combines traditional elements with Western cut and fit.
CHAPTER ONEINTRODUCTION © 2010 Fairchild Books,
A Division of Condé Nast Publications
Cultural Authentication is the process “whereby elements of dress of one culture are incorporated into the dress of another.” Usually the culturally authenticated style is changed in some way. Only rarely are entire garments adopted. Erekosima and Eicher (1981)
Dashiki
29
CHAPTER ONEINTRODUCTION © 2010 Fairchild Books,
A Division of Condé Nast Publications
Geographic location, the natural environment, and ecology (the relationship of humans to their physical
environment) may emerge as themes that are evident in dress.
30
CHAPTER ONEINTRODUCTION © 2010 Fairchild Books,
A Division of Condé Nast Publications
Clothing is considered by some to be an art form
Isabella Clara Eugenia, Infanta of Spain, Duchess of Austria and Burgundy, Princess of Belgium.
31
CHAPTER ONEINTRODUCTION © 2010 Fairchild Books,
A Division of Condé Nast Publications
32
As an art form, it can be said to grow out of the ZEITGEIST.
Zeitgeist, a German word, describes the complex mixture of social, psychological, and aesthetic factors often called the “spirit of the times.”
CHAPTER ONEINTRODUCTION © 2010 Fairchild Books,
A Division of Condé Nast Publications
Influenced by the Zeitgeist or spirit of the times, different art forms from the same era may display
similar qualities.
33
CHAPTER ONEINTRODUCTION © 2010 Fairchild Books,
A Division of Condé Nast Publications
Themes related to clothing as an art form include:
CHAPTER ONEINTRODUCTION © 2010 Fairchild Books,
A Division of Condé Nast Publications
The relationship between costume of a
particular era and developments in the fine and applied arts.
35
CHAPTER ONEINTRODUCTION © 2010 Fairchild Books,
A Division of Condé Nast Publications
Individual artists and designers,
such as Gabrielle Chanel,
contribute to the view of costume
as art.
36
CHAPTER ONEINTRODUCTION © 2010 Fairchild Books,
A Division of Condé Nast Publications
Revival of interest in earlier styles
37
CHAPTER ONEINTRODUCTION © 2010 Fairchild Books,
A Division of Condé Nast Publications
Where does fashion fit into this exploration of dress?
What is Fashion?
38
CHAPTER ONEINTRODUCTION © 2010 Fairchild Books,
A Division of Condé Nast Publications
Fashion is a taste shared by many for a short period of time.
39
Fashion is evident in many aspects of life.
CHAPTER ONEINTRODUCTION © 2010 Fairchild Books,
A Division of Condé Nast Publications
A complex technological system has developed in the modern world that
facilitates:
DesignManufactureDistribution
Thereby making it possible for men and women of all
incomes to follow current fashions
40
CHAPTER ONEINTRODUCTION © 2010 Fairchild Books,
A Division of Condé Nast Publications
Technology: Design Development
• Line Creation• Line Development
41
CHAPTER ONEINTRODUCTION © 2010 Fairchild Books,
A Division of Condé Nast Publications
• Pattern design• Marker making• Fabric cutting• Control of work-in-process• Control of sewing machines• Warehousing and selection• Electronic data interchange• Computerized printing
42
Technology: Systems for Manufacturing Apparel
CHAPTER ONEINTRODUCTION © 2010 Fairchild Books,
A Division of Condé Nast Publications
43Click on the “@” button to view live feed from QVC.
Technology: Distribution and Communication
CHAPTER ONEINTRODUCTION © 2010 Fairchild Books,
A Division of Condé Nast Publications
44
For Further Study
Pre-historic ClothingPre-historic Exeter:http://pub2.exeter.gov.uk/timetrail/01_prehistoric/growth.asp
Clothing Worn By the Ice Man: http://mr_sedivy.tripod.com/iceman4.html
Abstract Of Paper On Cultural Authenticationhttp://www.textilesociety.org/abstracts_2004/torntore.htm
Resources And Links On Folk Costumehttp://www.costumes.org/ethnic/1PAGES/ETHNOLNK.HTM
Fashion: http://www.fashion-era.com/sociology_semiotics.htm
Further Reading:Eicher, Joanne B., and Barbara Sumberg. 1995. World Fashion, Ethnic, and
National Dress. In Dress and Ethnicity: Change across Space and Time, edited by J. Eicher, 295-306. Oxford: Berg.
CHAPTER ONEINTRODUCTION © 2010 Fairchild Books,
A Division of Condé Nast Publications
45
Image Credits
Image of tattoo shirt, courtesy of www.bewild.com
Image of the Leno Loom, courtesy of www.sofcon.cz
Image of Tatting Lace, courtesy of www.fundysights.ca
Image of Jackie Kennedy, c. 1960, courtesy of www.imperialclub.com
Dashiki, courtesy of www.vintage70sclothing.com
Various images in this chapter courtesy of www.clipart.com