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.

做衣服基本上是一种身体的体验。然而，服装、纺织品和制造业的历史往往缺乏对服装制作的物理性的认识或承认。这样的过程很少在文本中捕捉到，现存的实物通常只代表成品。制作历史服装网络将带来对话，并使各种学者和从业者之间的传统等级制度变得扁平化，这些学者和从业者已经认识到这一空白，并开始重新掌握过去的实用缝纫知识。通过这些“体现”的方法，服装结构可以进行逆向工程，丢失的技能可以恢复，说明和图表可以测试。娱乐方法反对专业化和男性化生产的叙述，这主导了档案。对手工制作的历史做法的关注为劳动者，特别是妇女和BAME制造者提供了一个代言人，他们往往在行会记录和工业家的帐户中被掩盖。重要的是，娱乐恢复了被当今快时尚贬低的手工技能。它阐明并恢复了制作服装所需的体力劳动，而围绕这一点的历史叙述和当前的大规模制造实践已经减少了。实验方法在考古学和技术艺术史等学科中得到了很好的确立，但直到最近才在历史学家中获得了吸引力，因为娱乐和实用方法往往仍然在学术界之外。最近的“制造”和“体现”转向，主要由服装历史学家领导，要求学者考虑这些对象如何与历史主体相互作用并由历史主体形成。现有的奖学金，如阿诺德和蒂拉马尼的工作，在泰戈尔科瓦研究和霍蒂埃里克森和皮特曼在历史上，已被分散沿着学科和专业线。然而，在2012年Tiramani的历史服饰学校和Davidson的2019年文章推出后，这种方法在学者中获得了加速的吸引力。与此同时，自2018年以来，YouTube和Instagram上历史娱乐的增长（2021年被《Vogue》评为时尚现象）创造了一个全球性的历史创造者社区，他们在学术界之外创造知识。尽管该领域在增长，但几乎没有凝聚力或对关键术语和方法的广泛接受。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，或在传统学术机构之外工作。制作历史服装网络将联合历史，文学，艺术史和文化研究等学科的服装学者，以及服装生产，策展和保护领域的从业者，以及历史服装的社交媒体社区。在这样做时，该网络将提供一个论坛，供讨论和建立该领域的共同基本规则。该网络将解决该领域缺乏多样性的问题，这是学院面临的一个特殊挑战，它将阐明过去多样化和受奴役的制造者的工作，并提高BAME从业者的声音。该网络将整合现有的零散工作，与非学术从业人员共同创造知识，并使参与者能够建立界定领域的最佳做法。