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As the practice of fashion curation extends into commercial galleries, public and retail spaces, and even to the individual self, professional concepts of 'curating' are undergoing rapid change. Today, everyone is seemingly able to 'curate', but where does this leave the traditional understanding of curation as clothing collected and displayed in a museum? This thought-provoking volume explores the practice of fashion curating in the 21st century, bridging the gap between methods of display and notions of 'the curatorial' in fashion exhibitions, commercial settings, and the virtual world. From fashion's earliest forays into the museum to creative collaborations between luxury fashion brands and artists, this book challenges understandings of fashion curation by drawing on the palpably new spaces, places, and actors in today's curating scene. Exploring poetic and performative museum displays in venues such as the V&A, Somerset House, MoMu and the Royal Ontario Museum, alongside the ways that brands such as Dior, Chanel and Louis Vuitton have made use of 'the curatorial' in their own commercial strategies, Fashion Curating asks pressing questions about controversial funding and collaboration from the commercial fashion sector, and the limitations of producing exhibitions that are at the same time critical and popular. Bringing together approaches from fashion curators, designers and world-renowned academics, curation is positioned as a critical practice that opens up new ways of conceptualizing and theorizing fashion, challenging how we think and what we already know.

A manual and guide for preserving unique materials in fashion such as rayon, paper, and plastics Continuous innovation and experimentation with the materials used in constructing textiles, apparel, and accessories creates an ever-growing challenge for professional curators and collectors.

The article examines a fashion exhibition at a heritage museum on a historic site in terms of fashion museology. Fashion museology, which has emerged from the growing phenomenon of exhibiting fashion in museums, advocates the visual representation and holistic atmosphere of the curatorial space that determines the on-site audience experience. This article focuses on how the interrelation between fashionable clothing, the bodies of the audience, and the heritage space constructs a hybrid space in which bodily movement articulates the displayed clothing. We consider the heritage space to be a performative event and explore how heritage museums can harness and make practical use of the affective interrelationship within the designed museum space in terms of the quality of the fashion exhibition experience. Museum audiences are situated in and moved around by the curated spatial environment, which is a space with cultural residuals and historical inheritance, where the bodily encounter with the displayed clothing occurs. The investigation of this interaction via case studies sheds light on the overlooked haptic experience and spatial storytelling in fashion exhibitions. The site-specific interaction at the heritage space mediates the body in multiple ways. Such curated bodily movement acts as a narration that imbues the clothing on display with meanings.

The Bridges Conference has been running on an annual basis since 1998 and is the foremost international conference dedicated to connections between mathematics and the arts, design and culture. In 2023, Bridges took place at Dalhousie University in Halifax, Nova Scotia, Canada. The conference ran from July 27 to 31, and was packed with a wide variety of plenary and contributed lectures, workshops, exhibitions, performances and public events. This article reports on the scientific, artistic and cultural programme and experience, from the viewpoint of a participant who is an academic mathematician based in Ireland.

This study focuses on the making of African bark-cloth in the Caribbean and the use of plant fibers and pigments in the production and care of clothing for members of the colonized population. The material artifact of interest in this study is lace-bark, a form of bark-cloth, obtained from the bark of the lagetto tree found only in Jamaica, Cuba and Haiti. The fibres of the lagetto bark were removed by hand and dried, and the end result resembled fine lace or linen that was used by enslaved and freed women in Jamaica to make clothing as well as a substitute for manufactured lace. Although lace-bark is derived from the bark of a tree, it is different from other forms of bark-cloth. For instance, unlike most bark-cloth, the bark of the lagetto tree was not beaten into malleable cloth. The scientific name for the lace-bark tree is Lagetta lagetto; however, common names and spelling vary across regions. The author argues that a vibrant cottage industry based on African bark-cloth and lace-bark developed in Jamaica in response to economic conditions, and the insufficient clothing enslaved Africans received from their enslavers. Women dominated this industry and it fostered a creative space that allowed them to be expressive in their dress and simultaneously to escape, at least temporarily, the harsh realities of the plantation. The subjects of this study are women of African ancestry living in Jamaica from the seventeenth to the early twentieth century. By the late seventeenth century, a bark industry had developed in Jamaica that was responsible for producing exquisite bark material that was widely popular. The laghetto tree was known in Cuba as the Daguilla, and in Haiti as bois dentelle.

Al-Diwan Al-Iraqi, an Iraqi American cultural organization in Washington DC, hosted \"A Historic Journey Through the Fashions of Mesopotamia,\" on January 14 at the Northern Virginia Cultural Center in Annandale VA. Yasir Shallal, an Iraqi-American engineer, welcomed Iraqis to the fashion show, which, he told the Washington Report, brought together Iraqis living in DC, Virginia and Maryland, regardless of the political differences they've left behind in Iraq. The Al-Diwan Al-Iraqi vision is to build an Iraqi American Community Center that will provide social, cultural and educational services for all Iraqi Americans and build bridges of understanding and cooperation both within and outside their community.

Türk giyim kültürü, zengin ve çeşitli yöresel kıyafetler, dokumalar ile zengin bir kültürel miras taşımaktadır. Orta Asya'dan süzülüp gelen sanat ve giyim gelenekleri, Büyük Selçuklulara, Anadolu Selçuklularına ve Osmanii imparatorluǧuna kadar uzanıp gelmiştir. Osmanii İmparatorluǧu'ndan Cumhuriyet Türkiye'sine uzanan yolculukta, inkılaplar yapılmış, cumhuriyet modaları oluşmuştur. Çalışmada, Türklerin giyim kültürü ve modası üzerinde durulmuştur. Türk giyim tarihine dair ana batlarıyla yapılan bu okumada, Türk dokuma ve giysilerinin deǧerine, zenginliǧine, Avrupa'da ve dünyanın farklı coǧrafyalarında yarattıǧı etkiye ve modalara, dolayısıyla önemine ve bu öneme istinaden bir kültürel miras olarak moda müzelerinde yer alma gerekliliǧine deǧinilmiştir. Çalışmada, yazarın 2018-2023 yıkarı arasında Türkiye'nin farklı kentlerinde etnoǧrafya, tarih, kent vb. müzelerinde, kurum ve etkinliklerde düzenlenen, giysi ve moda sergileri, yerinde ziyaretler ile içeriksel ve mekânsal olarak gözlem ve saptama çalışmaları ile izlenmiştir. Literatür taraması ile giysi ve moda sergileri, dokümanları araştırılarak bilgi toplanmış, betimsel araştırma ile çalışma verileri deǧerlendirilmiş, giysi ve moda sergileri içeriksel ve mekânsal olarak sınıflandırılmıştır. Sonuç olarak, sergilenmeye deǧer kültürel miras olan müze nesnesi dokumalar, aksesuarlar ve giysiler, yitirilmeden, yeni müzecilik çerçevesinde, sanal ortamda da içeriǧiyle ve bilgi paylaşımıyla etkin olan Türk giyim tarihine ilişkin kronolojinin izleriyle ve sürekliliǧiyle okunabilen, zengin müze deneyimi yaşatan, giysi, moda ve tekstil tarihi müzeleri tasarlanmalıdır.

What is the kimono? Everyday garment? Art object? Symbol of Japan? As this book shows, the kimono has served all of these roles, its meaning changing across time and with the perspective of the wearer or viewer. Kimono: A Modern History begins by exposing the seventeenth- and eighteenth-century foundations of the modern kimono fashion industry. It explores the crossover between 'art' and 'fashion' in this period at the hands of famous Japanese painters who worked with clothing pattern books and painted directly onto garments. With Japan's exposure to Western fashion in the nineteenth century, and Westerners' exposure to Japanese modes of dress and design, the kimono took on new associations and came to symbolize an exotic culture and an alluring female form. In the aftermath of the Second World War, the kimono industry was sustained through government support. The line between fashion and art became blurred as kimonos produced by famous designers were collected for their beauty and displayed in museums, rather than being worn as clothing. Today, the kimono has once again taken on new dimensions, as the Internet and social media proliferate images of the kimono as a versatile garment to be integrated into a range of individual styles. Kimono: A Modern History, the inspiration for a major exhibition at the Metropolitan Museum of Art in New York, not only tells the story of a distinctive garment's ever-changing functions and image, but provides a novel perspective on Japan's modernization and encounter with the West.