Tucked away in museums displaying and storing collections of dress and textiles there is often a subsidiary but significant collection of printed ephemera. This might encompass bills, trade cards, paper carrier bags, fashion plates and dressmaking patterns.
Fashion Prints in the Age of Louis XIV. Interpreting the Art of Elegance is the record of a symposium held in 2005, sparked by the Los Angeles County Museum of Art (LACMA)’s acquisition of a bound album of 190 hand-colored French fashion plates published between approximately 1670 and 1695.
This is a very welcome addition to the study of dress in antiquity. While studies of clothing, bodily adornment and the body language of antiquity are becoming more frequent, a volume that considers the role of religious dress and the religious meanings of dress among Jews and Christians takes this research in new directions.
In Kimono: A Modern History, textile historian Terry Satsuki Milhaupt encourages her readers to ‘reflect deeply and broadly on what the kimono has meant at various points in its long history’ (p. 287). In this ambitious project, she identifies ‘modern’ with the period from the 1850s onwards.
A stitch up is a devious act that someone does to someone else. It may involve putting a person or organization, perhaps, in a position where they will be blamed for something they did not do or it might mean manipulating a situation, in unseen ways, to one’s own advantage.
Household goods piled along curbs with hand-lettered signs saying ‘free’; never-worn clothing hanging in closets, price tags still in place; vacated college dormitory rooms filled with abandoned throw rugs, hair dryers, bookcases; consultants who help us simplify our lives by getting rid of ‘stuff.’ This is the world of things that many Americans inhabit today.
The lower levels of 19th-century society have received increasing amounts of attention from historians, and while their clothing is very nearly always mentioned (at least in passing) Vivienne Richmond rightly notes the individual and collective meanings of this clothing are rarely discussed or analysed.(1) It is an omission which, in Clothing the Poor in Nineteenth
French revolutionary money is funny stuff.
Over 800 years have passed since Eleanor of Aquitaine’s death and yet she continues to fascinate us. Michael R. Evans’ book charts this fascination, beginning with the image of Eleanor shaped by her contemporaries and then examining both the ‘black legend’ and ‘golden myth’ which have been continually refreshed and reworked about her life up to the present day.
Historians have been treated to a wealth of bureaucratic intelligence histories over the past five or so years. Each of Britain’s three intelligence agencies have been the recent subject of a lengthy institutional history, one authorised (on MI5 by Christopher Andrew), one official (MI6 by Keith Jeffery), and one unofficial (GCHQ by Richard Aldrich).