A Cultural History of Dress and Fashion in the Age of Empire

Description

During the 19th and early 20th centuries the production of dress shifted dramatically from being predominantly hand-crafted in small quantities to machine-manufactured in bulk. The increasing democratization of appearances made new fashions more widely available, but at the same time made the need to differentiate social rank seem more pressing. In this age of empire, the coding of class, gender and race was frequently negotiated through dress in complex ways, from fashionable dress which restricted or exaggerated the female body to liberating reform dress, from self-defining black dandies to the oppressions and resistances of slave dress. Richly illustrated with over 100 images and drawing on a plethora of visual, textual and object sources, A Cultural History of Dress and Fashion in the Age of Empire presents essays on textiles, production and distribution, the body, belief, gender and sexuality, status, ethnicity, and visual and literary representations to illustrate the diversity and cultural significance of dress and fashion in the period. Cover page Series page Halftitle page Title page Copyright page CONTENTS LIST OF ILLUSTRATIONS Introduction CHAPTER ONE Textiles PLAINS: ACTUAL AND SYMBOLIC MODERNITY CALICO AND NANKEEN: THE NATURALIZATION OF COTTON LAPPET-WEAVE MUSLINS: FROM NOVELTY TO EXPORT VALENTIA, GAMBROON, DELAINE, AND ALPACA: MIXING TRADITIONS CHECKED AND STRIPED SILKS: THE OTHER HALF BLUE PRINTS AND PURPLE PRINTS: FOSSILIZATION OF FASHION PRINTED SHIRTINGS: CONCEALING MASCULINE FRIVOLITY MOIRÉ ANTIQUE: RETURN TO NATURE FROM CRAPE TO CRÊPE: CHANGING SURFACE VALUES KHAKI DRILL: THE NEW INVISIBILITY GABARDINE: CROSSING THE GENDER DIVIDE SHIRTINGS AND DRESSES: THE DISCIPLINE OF STRIPES FLANNELETTE: VOLATILE FASHIONS RUBBER AND WHALEBONE: MOULDED BY UNSUSTAINABILITY CONCLUSIONS CHAPTER TWO Production and Distribution FASHION PRODUCERS MODISTES AND CALICOTS THE INVENTION OF HAUTE COUTURE FASHION SPACES FASHION’S VIRTUAL MARKETPLACE CONCLUSION CHAPTER THREE The Body EXPOSING REVOLUTIONARY FASHIONS LEG O’ MUTTON SLEEVE CAGE CRINOLINE BLOOMER DRESS CORSETS AESTHETIC DRESS THE NEW WOMAN CONCLUSION CHAPTER FOUR Belief RELIGIOUS DRESS IN THE AGE OF MODERNITY LEGIBILE DRESS WEDDINGS AND FUNERALS, OR, MARRYING, BURYING, AND BUYING PROPRIETY AND THE GREAT MASCULINE RENUNCIATION FALLEN WOMEN, FEMMES GALANTES , AND FINERY COMMODITY CULTURE AND CATHEDRALS OF COMMERCE CHAPTER FIVE Gender and Sexuality MASCULINITY, DANDYISM, AND THE THREE-PIECE SUIT THE CORSET, FEMININITY, AND FETISHISM CONCLUSION CHAPTER SIX Status FRATERNAL FUSTIAN SARTORIAL SALVATION MAIDS AND MISTRESSES CONCLUSION CHAPTER SEVEN Ethnicity ETHNICITY, RACE, AND FASHION FASHIONING RACE: SLAVERY AND BLACK DANDIES IMPERIAL RULE AND DELINEATIONS OF ETHNICITY INDIGENOUS PRODUCTS, CRAFT, AND INDUSTRY GENDER, NATIONALITY, AND MODERNITY CONCLUSION CHAPTER EIGHT Visual Representations PAINTING, 1800–60 FASHION ILLUSTRATION CARICATURE PHOTOGRAPHY, 1840–1900 PAINTING, 1860–1920 ADVERTISING POSTERS SCULPTURE FASHION SHOWS AND FASHION NEWSREELS FASHION PHOTOGRAPHY AND FASHION ILLUSTRATION IN THE TWENTIETH CENTURY FILM CHAPTER NINE Literary Representations WOMEN, FASHION, AND BRITISH GOTHIC ROMANCE “MONDERNITY,” MASCULINITY, AND THE DANDY FLÂNEUR: YANGZHOU—PARIS—LONDON FASHION, GENDER, TRANSGRESSION FASHION, GENDER, POWER PROUST’S FORTUNY GOWNS NOTES BIBLIOGRAPHY NOTES ON CONTRIBUTORS INDEX