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This book explores how literary texts envision England and respond to discourses and conceptions of Englishness and the English nation, especially in relation to gender and language. The essays discuss texts from the fifteenth to the twentieth century and bear witness to changing views of England and the English, highlighting the importance of religion, economy, landscape, the spectre of the “other” and language in this discourse. The volume pays attention to women writers’ reflection on the nation and the roles female figures play in male writers’ visions of nationhood. It brings into conversation less well-known voices like those of Osbern Bokenham, Thomas Deloney, Eleanor Davies and Jacquetta Hawkes with canonical authors—William Shakespeare, William Wordsworth, Jane Austen and Virginia Woolf—and opens a space for exploring the interplay of dominant and variant voices in the fashioning of England.
"Anglomania gripped Europe during the mid to late 18th century. Continental Anglophiles such as Voltaire and Montesquieu saw England as a land of reason, freedom, and tolerance. Yet what began as an intellectual phenomenon became, and has remained, a matter of style. Through the lens of fashion, this volume examines aspects of English culture that continue to capture the imaginations of Europeans and Americans, among them the class system, sport, royalty, pageantry, eccentricity, the gentleman, and the country garden. Englishness is a romantic construct, formed by fictive and imaginary narratives. These narratives are, however, not merely the product of European-American Anglophilia but are fostered by the English themselves. As this book reveals, they can be found in the novels of Samuel Richardson and in the paintings of George Stubbs and William Hogarth. AngloMania presents historical costumes with clothing of the late 20th and early 21st centuries in a series of theatrical vignettes staged in the Museum's English Period Rooms. The illuminating and entertaining texts are complemented by an essay, which traces the desire for all things British"-- Metropolitan Museum of Art website.
Offering a unique anthology of primary texts, this sourcebook opens a window on the writing that shaped and mirrored Victorian fashion, taking us from corsets to crinolines, dandies to decadent 'New Women'. A user-friendly collection that provides a solid grounding in the fashion history of the nineteenth century, it brings together for the first time sources that trace the evolution of dress and the social, cultural and political discourses that influenced it. Featuring seminal writings by authors and commentators such as Oscar Wilde, Thorstein Veblen and Sarah Stickney Ellis, plus satirical cartoons, illustrations and fashion plates from key sources such as Punch magazine, it combines primary texts and illustrations with accessible explanatory notes to offer a wide-ranging overview of the period for both students and researchers. Each section opens with an introduction that examines the major trends in Victorian clothing – and the material, economic, scientific and cultural forces driving those trends – situating the texts in the pressing social anxieties and pleasures of the time. Exploring both menswear and womenswear, and key topics such as corsetry, dress reform and mourning, Mitchell extends her analysis into interdisciplinary fields including gender studies and literature, and guides the reader with a timeline, glossary and further readings.
As America's first historical society, the Massachusetts Historical Society has collected family materials since 1791, including long-cherished pieces of clothing that were acquired alongside papers such as letters and diaries. Because of the different storage requirements for textiles and manuscripts, these survivors-many of them hundreds of years old-have largely been divorced from their familial ties. Fashioning the New England Family, an initiative encompassing a fall 2018 exhibition and this companion volume, reconnects the textiles with the associated stories carried in the family papers. Generously illustrated with full-color photographs of garments, fabrics, and accessories, including exquisite detail shots, the book creates a lasting overview of the exhibition but also delves into specific topics. The chapters cover a spam of more than three hundred years, tracing the history of New England clothing from the colonial seventeenth century, through the Revolutionary eighteenth century, and into the national nineteenth. In these pages, readers will find a fragment of Mayflower passenger Priscilla Mullins Alden's dress; Governor John Leverett's bloodstained buff coat, which saw battle in the English Civil War; and the luxurious Spitalfields green silk damask wedding dress and shoes that Rebecca Tailer Byles wore at her 1747 wedding in Boston. Across these examples and more, the text traces patterns of global production and local consumption and reuse, demonstrating how New Englanders used costume to establish their situation, especially in terms of class and gender, and also to express their political affiliations. Patriots and loyalists-Hancocks, Adamses, Dawses, and Olivers-make many appearances, as they are so well represented in the society's rich holdings. Manuscripts drawn from the collections-receipts, daybooks, account books, diaries-further amplify the historical insights, even at times making it possible to interpret the way in which a specific garment may have embodied one individual's sense of identity. Distributed for the Massachusetts Historical Society
This inventive and lucid book sheds new light on topics as diverse as crime, authority, and retailing in eighteenth-century Britain, and makes a major contribution to broader debates around consumerism, popular culture, and material life. The material lives of ordinary English men and women were transformed in the years following the restoration of Charles II in 1660. Tea and sugar, the fruits of British mercantile and colonial expansion, altered their diets. Pendulum clocks and Staffordshire pottery, the products of British manufacturing ingenuity, enriched their homes. But it was in their clothing that ordinary people enjoyed the greatest change in their material lives. This book retrieves the unknown story of ordinary consumers in eighteenth-century England and provides a wealth of information about what they wore. John Styles reveals that ownership of new fabrics and new fashions was not confined to the rich but extended far down the social scale to the small farmers, day laborers, and petty tradespeople who formed a majority of the population. The author focuses on the clothes ordinary people wore, the ways they acquired them, and the meanings they attached to them, shedding new light on all types of attire and the occasions on which they were worn.
The British Isles is a multi-national arena, but its history has traditionally been studied from a distinctively English -- often, indeed, London -- perspective. Now, however, the interweaving of the distinct but mutually-dependent histories of the four nations is at the heart of some of the liveliest historical research today. In this major contribution to that research, eleven leading scholars consider key aspects of the internal relations of England, Scotland, Ireland and Wales in the early modern period, and the problems of accommodating different -- and resistant -- cultures to a single centralizing polity. The contributors are: Sarah Barber; Toby Barnard; Ciaran Brady; Keith M. Brown; Jane Dawson; Steven G. Ellis; David Hayton; Philip Jenkins; Alan Macinnes; Michael Mac Craith; and John Morrill.
Ordinary clothes have extraordinary stories. In contrast to academic and curatorial focus on the spectacular and the luxurious, Everyday Fashion makes the case that your grandmother's wardrobe is an archive as interesting and important as any museum store. From the moment we wake and get dressed in the morning until we get undressed again in the evening, fashion is a central medium through which we experience the world and negotiate our place within it. Because of this, the ways that supposedly 'ordinary' and 'everyday' fashion objects have been designed, manufactured, worn, cared for, and remembered matters deeply to our historical understanding. Beginning at 1550 the start of an era during which the word 'fashion' came to mean stylistic change rather than the act of making each chapter explores the definition of everyday fashion and how this has changed over time, demonstrating innovative methodologies for researching the everyday. The variety and significance of everyday fashion cultures are further highlighted by a series of illustrated object biographies written by Britain's leading fashion curators, showcasing the rich diversity of everyday fashion in British museum collections. Collectively, this volume scratches below the glossy surface of fashion to expose the mechanics of fashion business, the hidden world of the workroom and the diversity and role of makers; and the experiences of consuming, wearing, and caring for ordinary clothes in the United Kingdom from the 16th century to the present day. In doing so it challenges readers to rethink how fashion systems evolve and to reassess the boundaries between fashion and dress scholarship.
Over the past three centuries, London has established itself as one of the world's most inventive fashion capitals. 'Fashioning London' looks at the manner in which particular styles of dress became associated with this leading international city.
Celebrating 250 years of male self-expression, investigating the portraiture and wardrobe of the fashionable British man The style of the dandy is elegant but bold--dedicated to the perfection of taste. This meticulously choreographed look has a vibrant history; the legacy of Beau Brummell, the original dandy of Regency England, can be traced in the clothing of urban dandies today. Dandy Style celebrates 250 years of male self-expression, investigating the portraiture and wardrobe of the fashionable British man. Combining fashion, art, and photography, the historic and the contemporary, the provocative and the respectable, it considers key themes in the development of male style and identity, including elegance, uniformity, and spectacle. Various types of dandy are represented by iconic figures such as Oscar Wilde, Edward VIII as Prince of Wales, and Gilbert & George. They appear alongside the seminal designs of Vivienne Westwood, Ozwald Boateng, and Alexander McQueen; and portraits by Thomas Gainsborough and David Hockney.
Medieval European culture was obsessed with clothing. In Fashioning Change: The Trope of Clothing in High-and Late-Medieval England, Andrea Denny-Brown explores the central impact of clothing in medieval ideas about impermanence and the ethical stakes of human transience. Studies of dress frequently contend with a prevailing cultural belief that bodily adornment speaks to interests that are frivolous, superficial, and cursory. Taking up the vexed topic of clothing's inherent changeability, Denny-Brown uncovers an important new genealogy of clothing as a representational device, one imbued with a surprising philosophical pedigree and a long history of analytical weightiness.Considering writers as diverse as Boethius, Alain de Lille, William Durand, Chaucer, and Lydgate, among others, Denny-Brown tracks the development of a literary and cultural trope that begins in the sixth century and finds its highest expression in the vernacular poetry of fifteenth-century England. Among the topics covered are Boethian discourses on the care of the self, the changing garments of Lady Fortune, novelty in ecclesiastical fashions, the sartorial legacy of Chaucer's Griselda, and the emergence of the English gallant. These literary treatments of vestimentary variation--which develop an aesthetics of change itself--enhance our understanding of clothing as a phenomenological and philosophical category in medieval Europe and illustrate the centrality of the Middle Ages to theories of aesthetics, of materiality, and of cultural change.