Making Historical Dress: Hands, bodies and methods

制作历史服饰：手、身体和方法

• 批准号: AH/X007790/1
• 负责人: Serena Dyer
• 金额: $ 4.77万
• 依托单位: De Montfort University
• 依托单位国家: 英国
• 项目类别: Research Grant
• 财政年份: 2023
• 资助国家: 英国
• 起止时间: 2023 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=AH%2FX007790%2F1
• 关键词: Making; Historical; Dress; Hands; bodies

Making clothing is a fundamentally corporeal experience. Yet histories of dress, textiles, and manufacture often lack awareness or acknowledgement of the physicality of garment making. Such processes were rarely captured in text, and extant material objects usually only represent the finished product. The Making Historical Dress Network will bring into conversation and flatten traditional hierarchies between a diverse range of scholars and practitioners who have recognised this lacuna and taken to their needles to recapture practical sewing knowledge of the past. Through these 'embodied' approaches, garment construction can be reverse engineered, lost skills can be recovered, and instructions and diagrams can be tested. Recreative methods push back against the narratives of professionalised and masculine production, which dominate the archive. Attention to historic practices of manual making offers a mouthpiece to labourers, particularly women and BAME makers, who are often obscured in guild records and industrialist accounts. Vitally, recreation recovers the manual skills devalued by present-day fast fashion. It illuminates and retrieves the physical human labour required to make clothing, which historic narratives around and current practices of mass manufacture have diminished.Experimental methodologies are well established in disciplines such as archaeology and technical art history but have only recently gained traction amongst historians, as recreation and practical approaches have often remained outside the academy. The recent 'making' and 'embodied' turns, led largely by dress historians, have asked scholars to consider how these objects interacted with and were formed by historical bodies. Existing scholarship, such as the work of Arnold and Tiramani in Theatrical Costume Studies and Hohti Erichsen and Pitman in History, has been fragmented along disciplinary and professional lines. However, this approach has gained accelerated traction amongst scholars following the launch of Tiramani's School of Historical Dress in 2012 and Davidson's 2019 article. Simultaneously, the growth of historical recreation on YouTube and Instagram since 2018 (recognised as a fashion phenomenon by Vogue in 2021) has created a global community of historical makers, who generate knowledge outside of the academy.Despite the field's growth, there is little cohesion or field-wide acceptance of key terms and methods. Research in this field has been undertaken by scholars and practitioners fragmented across the UK, USA, Europe, and Australia, working on different periods, or employed outside traditional academic institutions. The Making Historical Dress Network will unite established and emerging scholars of dress across the disciplines of History, Literature, Art History, and Cultural Studies with practitioners in the worlds of costume production, curation, and conservation, as well as the social media community of historical costumers. In doing so, the network will provide a forum for the discussion and establishment of a shared fundamental rubric for the field. The network will address the lack of diversity within the field, a particular challenge for the academy, by illuminating the work of diverse and enslaved makers of the past and raising up the voices of BAME practitioners. This network will consolidate existing fragmented work, co-create knowledge with non-academic practitioners, and enable participants to establish field-defining best practice.

制作服装本质上是一种物质体验。然而，服装、纺织品和制造的历史往往缺乏对服装制造的物理性的认识或承认。这些过程很少用文字记录下来，现存的实物通常只代表成品。制作历史服装网络将在不同领域的学者和从业者之间展开对话并消除传统的等级制度，他们已经认识到这一缺陷，并开始努力重新掌握过去的实用缝纫知识。通过这些“具体化”方法，可以对服装结构进行逆向工程，可以恢复丢失的技能，并且可以测试说明和图表。娱乐性方法反驳了主导档案的专业化和男性化生产的叙述。对手工制作历史实践的关注为劳动者，特别是女性和少数族裔制造者提供了一个代言人，而她们往往在行会记录和实业家的账目中被掩盖。至关重要的是，娱乐恢复了被当今快时尚贬低的手工技能。它阐明并检索了制作服装所需的人类体力劳动，而围绕这些服装的历史叙述和当前大规模生产的实践已经减少。实验方法在考古学和技术艺术史等学科中已经很成熟，但直到最近才在历史学家中获得关注，因为娱乐和实践方法往往留在学院之外。最近主要由服装历史学家主导的“制造”和“体现”转向要求学者们考虑这些物体如何与历史身体相互作用并由历史身体形成。现有的学术研究，例如阿诺德和蒂拉马尼在戏剧服装研究方面的工作以及霍蒂·埃里克森和皮特曼在历史方面的工作，已经沿着学科和专业路线支离破碎。然而，随着 2012 年蒂拉马尼历史服饰学院的推出和戴维森 2019 年的文章，这种方法在学者中加速受到关注。与此同时，自 2018 年以来 YouTube 和 Instagram 上历史娱乐的增长（2021 年被《Vogue》杂志评为时尚现象）创建了一个由历史创造者组成的全球社区，他们在学院之外创造知识。尽管该领域不断发展，但缺乏凝聚力或关键术语和方法在整个领域的接受。这一领域的研究由分散在英国、美国、欧洲和澳大利亚的学者和从业者进行，他们在不同时期工作，或者受雇于传统学术机构之外。制作历史服饰网络将把历史、文学、艺术史和文化研究领域的知名和新兴服饰学者与服装生产、策展和保护领域的从业者以及历史服饰的社交媒体社区联合起来。顾客。在此过程中，该网络将为讨论和建立该领域的共享基本规则提供一个论坛。该网络将通过阐明过去多元化和受奴役的制造者的工作并提高 BAME 从业者的声音来解决该领域内缺乏多样性的问题，这对学院来说是一个特殊的挑战。该网络将整合现有的分散工作，与非学术从业者共同创造知识，并使参与者能够建立领域定义的最佳实践。