Journal articles: 'Nineteenth Century Clothing'

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Brady, Sean. "Clothing and Poverty in Nineteenth-century England." History Workshop Journal 82, no. 1 (August 22, 2016): 268–73. http://dx.doi.org/10.1093/hwj/dbw041.

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Ekici, Didem. "Skin, Clothing, and Dwelling." Journal of the Society of Architectural Historians 75, no. 3 (September 1, 2016): 281–98. http://dx.doi.org/10.1525/jsah.2016.75.3.281.

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Gottfried Semper is often credited with originating the concept of the building as skin in architectural theory, but an alternative trajectory of this idea can be found in the mid-nineteenth-century science of hygiene. In Skin, Clothing, and Dwelling: Max von Pettenkofer, the Science of Hygiene, and Breathing Walls, Didem Ekici explores the affinity of skin, clothing, and dwelling in nineteenth-century German thinking, focusing on a marginal figure in architectural history, physician Max von Pettenkofer (1818–1901), the “father of experimental hygiene.” Pettenkofer's concept of clothing and dwelling as skins influenced theories of architecture that emphasized the environmental performance of the architectural envelope. This article examines Pettenkofer's writings and contemporary works on hygiene, ethnology, Kulturgeschichte (cultural history), and linguistics that linked skin, clothing, and dwelling. From nineteenth-century “breathing walls” to today's high-performance envelopes, theories of the building as a regulating membrane are a testament to the unsung legacy of Pettenkofer and the science of hygiene.

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Jones, Peter. "Clothing the Poor in Early-Nineteenth-Century England." Textile History 37, no. 1 (May 2006): 17–37. http://dx.doi.org/10.1179/004049606x94459.

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Vander biesen, Ivan. "Social and Intercultural Relations in Nineteenth-Century Zanzibar: Dressed Identity." African and Asian Studies 8, no. 3 (2009): 309–31. http://dx.doi.org/10.1163/156921009x458136.

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Abstract Starting from the nineteenth century descriptive literatures on Zanzibar by authors such as Sir Richard Burton and Charles Guillain, and Salima bint Said-Ruete's autobiography, we can draw a rather detailed picture of the relationship between the different social layers, cultures and genders on Zanzibar. Describing and differentiating the complexity of Zanzibar society in the nineteenth century is the main aim of this paper. The focus is on clothing in order to sketch the social organization of the society and to highlight the cultural relations between the different groups in Zanzibar. The evidence obtained from the description of clothing is used as an eye-opener for the Zanzibar society and this evidence is supported by nineteenth century literature and photography on Zanzibar.

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Johnston, Lucy. "Clothing in Context — Nineteenth-Century Dress and Textiles in the Thomas Hardy Archive." Costume 52, no. 2 (September 2018): 261–84. http://dx.doi.org/10.3366/cost.2018.0071.

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This article will consider how dress, textiles, manuscripts and images in the Thomas Hardy Archive illuminate his writing and reveal the accuracy of his descriptions of clothing in novels including Far from the Madding Crowd and Tess of the D'Urbervilles. Rural clothing, fashionable styles, drawings and illustrations will shed new light on his writing through providing an insight into the people's dress he described so eloquently in his writing. The textiles and clothing in the Archive are also significant as nineteenth-century working-class dress is relatively rare. Everyday rural clothing does not tend to survive, so a collection belonging to Hardy's family of country stonemasons provides new opportunities for research in this area. Even more unusual is clothing reliably provenanced to famous people or writers, and such garments that do exist tend to be from the middle or upper classes. This article will show how the combination of surviving dress, biographical context and literary framework enriches understanding of Hardy's words and informs research into nineteenth-century rural dress.

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Davidson, Hilary. "Grave Emotions: Textiles and Clothing from Nineteenth-Century London Cemeteries." TEXTILE 14, no. 2 (May 3, 2016): 226–43. http://dx.doi.org/10.1080/14759756.2016.1139383.

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McQuillen, Colleen. "Satires of fashionable clothing and literature in nineteenth-century Russia." Clothing Cultures 3, no. 3 (December 1, 2016): 247–63. http://dx.doi.org/10.1386/cc.3.3.247_1.

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McClelland, Maria G. "The First Hull Mercy Nuns: A Nineteenth Century Case Study." Recusant History 22, no. 2 (October 1994): 199–221. http://dx.doi.org/10.1017/s0034193200001874.

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Preaching in Edinburgh on 8 October 1885 at the clothing ceremony of two Mercy nuns, Fr. William Humphrey SJ, the convert-chaplain of the episcopalian bishop of Brechin, used the following extract from Psalm XLIV as his theme:Hearken, O daughter and seeAnd incline thine ear,And forget thy people and thy father’s houseAnd the King shall desire thy beauty.(v. 11–12)

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Moskowitz, Marina, Philippe Perrot, and Richard Bienvenu. "Fashioning the Bourgeoisie: A History of Clothing in the Nineteenth Century." Journal of Interdisciplinary History 27, no. 1 (1996): 115. http://dx.doi.org/10.2307/206489.

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Ulväng, Marie. "Clothing Economy and Clothing Culture: The Farm Wardrobe from a Gendered Perspective in Nineteenth‐Century Sweden." Gender & History 33, no. 2 (June 11, 2021): 365–89. http://dx.doi.org/10.1111/1468-0424.12543.

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Keen, Suzanne. "QUAKER DRESS, SEXUALITY, AND THE DOMESTICATION OF REFORM IN THE VICTORIAN NOVEL." Victorian Literature and Culture 30, no. 1 (March 2002): 211–36. http://dx.doi.org/10.1017/s1060150302301104.

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WHY ARE JANE EYRE AND DOROTHEA BROOKE clad by their creators in “Quakerish” garb? The oppositional plainness and simplicity of Quakerish heroines have often been read as signs of classlessness and sexlessness.1 Plain and simple clothing seems, to both Victorian and contemporary eyes, part of the package of reticence, reserve, and repression associated with the evangelical wing of nineteenth-century dissenting sects.2 The typical sociological view of the function of dress within conservative religious groups holds that “strict dress codes are enforced because dress is considered symbolic of religiosity. Hence dress becomes a symbol of social control as it controls the external body” (Arthur 1). The control of female sexuality and the restraint of desire would seem to be the core function of modest clothing. Then the plain dress of some of the liveliest heroines of Victorian fiction presents a puzzle that can be solved only by recuperating the meaning of that clothing for Victorians. As fashion historian Anne Hollander points out, nineteenth-century novels testify to the way that clothes “always correctly express character” (Feeding the Eye 12), but the meaning of particular articles of clothing or styles can slip away. Accurately reading the characters of Charlotte Brontë and George Eliot thus requires careful interpretation of their dress, in this case reversing the conventional reading of their plain, modest, and simple style. This essay argues that Quakerish clothing expresses both a promise of spirited sexuality and an admonition about the class-crossing potential of the respectable female contained within it.

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Baptiste, Soline Anthore, and Nicolas P. Baptiste. "Constriction – Construction, a short history of specialised wearing apparel for athletic activities from the fourteenth century to nineteenth century." Acta Periodica Duellatorum 5, no. 2 (December 1, 2017): 73–95. http://dx.doi.org/10.1515/apd-2017-0009.

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AbstractDuring the twentieth century, clothing permits a real freedom of bodily movement. However, when examining past athletic activity, we must take into account the period approach to the body: liberty of movement is at the same time controlled by morality, gestures and clothing. The French term “tenue” initially referred to behaviour, but since the end of the eighteenth century concerns the manner of dressing, and later by extension, the “dignity of conduct”. In the past times concerned with “sporting” activities such as the HEMA (Historical European Martial Arts), physical appearance is affected by rules of etiquette imposed by morality and civility. From the Middle Ages to the nineteenth century, each period offers a different overview of the dress standards in relation to the different approaches to corporal identity, and the constriction first necessary for military activities becomes indivisible from the moral and physical construction. As a practitioner of the 21st century, the question raises about our relationship, not only with our bodies but also with past cultures. As demonstrated by some concrete examples, if it is desired to fully approach the ancient practices, it is therefore necessary to also adopt the garment, in the same way as the accessories.

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Wang, Bing Zi, and Ying Chen. "The Effect of 3D Printing Technology on the Future Fashion Design and Manufacturing." Applied Mechanics and Materials 496-500 (January 2014): 2687–91. http://dx.doi.org/10.4028/www.scientific.net/amm.496-500.2687.

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In this paper, the present situation of the application of 3D printing on fashion industry and the characteristics of 3D clothing were analyzed and summarized; the effect of 3D printing technology on the clothing design and manufacturing was discussed, and a new design and production process was put forward; besides, this paper described the limits of 3D printing clothing and made a predictive analysis of the application of 3D printing future vision in the field of clothing. As the revolutionary change to the textile and garment industry brought by the invention of sewing machine in nineteenth Century, 3D printing technologies applied in the clothing will bring changes to this industry as well.3D printing technology broke the original frame and brought new creative space and possibilities whether from the perspective of fashion design thinking or production practice.

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Camacho, Marya Svetlana T. "Clothing the Colony: Nineteenth-Century Philippine Sartorial Culture, 1820–1896 by Stephanie Coo." Philippine Studies: Historical and Ethnographic Viewpoints 68, no. 3-4 (2020): 513–17. http://dx.doi.org/10.1353/phs.2020.0034.

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Ros Piñeiro, Iria. "The influence of Japanese kimono on European bustles and their representation in the paintings of the late nineteenth century." Mutual Images Journal, no. 8 (June 20, 2020): 3–20. http://dx.doi.org/10.32926/2020.8.ros.kimon.

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This article investigates the relationship between Europe and Japan at the end of the nineteenth century through the influence of the clothing from both countries. Paintings and portraits from that era are analysed. A typical European clothing piece of that period, the bustle, is proof that little by little the traditional Japanese kimono began to enter the fashion of England and France. In addition, the article also investigates how the Japanese kimono became a luxury item in Europe; however, it was used as a gown-style clothing for the home, losing its original function. At the same time, some kimono and furisode were trimmed and re-sewn as decorative parts of European bustles. The dresses that have survived to this day, most of them preserved in museums, are compared with the European paintings of that period to show how painters portrayed these changes in fashion and modified the use of Japanese garments through their interpretations in Europe.

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Apter, Emily. "Fashioning the Bourgeoisie: A History of Clothing in the Nineteenth Century (review)." L'Esprit Créateur 37, no. 1 (1997): 110–11. http://dx.doi.org/10.1353/esp.0.0095.

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Pflugfelder, Gregory M. "The Nation-State, the Age/Gender System, and the Reconstitution of Erotic Desire in Nineteenth-Century Japan." Journal of Asian Studies 71, no. 4 (November 2012): 963–74. http://dx.doi.org/10.1017/s0021911812001222.

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Put simply, hair and clothing make a difference. To phrase the matter another way, the presence of these material and visual forms, or alternatively their absence from the human body, embodies potent cultural meanings and has concrete effects in the social world. To be sure, more-hidden body parts may lurk below the surface that signal our membership in certain social categories—gender, to give a prime example. In practical terms, however, when we see strangers walking toward us from a distance, we are in the habit of assuming they are a man or a woman not because we have observed their genitalia (it would be strange indeed if that were the case) but rather because we recognize and extract meaning from a more readily visible set of identity markers—primarily clothing-related (sartorial) and hair-related (tonsorial)—whose semiotic rules must be learned culturally and which vary across space and time.

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Crane, Diana. "Clothing Behavior as Non-Verbal Resistance: Marginal Women and Alternative Dress in the Nineteenth Century." Fashion Theory 3, no. 2 (May 1999): 241–68. http://dx.doi.org/10.2752/136270499779155078.

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Ruether, Kirsten. "Heated Debates over Crinolines: European Clothing on Nineteenth-century Lutheran Mission Stations in the Transvaal." Journal of Southern African Studies 28, no. 2 (June 2002): 359–78. http://dx.doi.org/10.1080/03057070220140757.

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Kobayashi, Ami. "From state uniform to fashion: Japanese adoption of western clothing since the late nineteenth century." International Journal of Fashion Studies 6, no. 2 (October 1, 2019): 201–16. http://dx.doi.org/10.1386/infs_00005_1.

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Since the late nineteenth century, yōfuku (a vague Japanese concept referring to all clothing originating from western countries) has spread predominantly from the upper to the lower class and from urban to rural space in Japan. In this process, the symbolic meaning attached to it has been transformed. Once a symbol of male elites, yōfuku has become ‘Japanese fashion’ and is now an expression of current Japanese (pop) culture. This article investigates the adoption process of yōfuku – especially the school uniform, which has reflected the contrasts between elite and non-elite, modernity and tradition, masculinity and femininity, and public duty and private life. Drawing on the case study of Japan, this article also sheds light on the complexity and variety that exist in modernization processes.

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Matthews David, Alison. "Body Doubles: The Origins of the Fashion Mannequin." Fashion Studies 1, no. 1 (2018): 1–46. http://dx.doi.org/10.38055/fs010107.

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This article traces the origins of the mannequin and challenges the gender assumptions it has been cloaked in. In nineteenth-century Paris, the fashion mannequin became a key technology in the construction of normative bodies, a principal “actor” in shaping current clothing cultures, and literally embodied debates over creativity and commodification. It locates the origins of the mannequin and the advent of live male fashion models in the bespoke tailoring practices of the 1820s, several decades before the female fashion model appeared on the scene. It ties the mannequin to larger shifts in the mass-production, standardization, and literal dehumanization of clothing production and consumption. As male tailors were put out of business by the proliferation of mass-produced clothing in standardized sizes, innovators like Alexis Lavigne and his daughter Alice Guerre-Lavigne made, marketed, and mass-produced feminized mannequins and taught tailoring techniques to and for a new generation of women. Starting in the 1870s and 80s, seamstresses used these new workshop tools to construct and drape innovative garments. Despite the vilification of the mannequin as a cipher for the superficiality and lack of individuality of fashionable displays in the modern urban landscape, early twentieth-century couturières like Callot Soeurs and Madeleine Vionnet ultimately used mannequins to produce genuinely creative clothing that freed the elite female body and allowed it new forms of mobility.

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Stetz, Margaret. "“Would You Like Some Victorian Dressing with That?”." Articles, no. 55 (April 20, 2010): 0. http://dx.doi.org/10.7202/039557ar.

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AbstractThis article challenges scholars to look beyond conventional audiences for Victorian studies and to go beyond conventional subjects, into the world of Victorian and Neo-Victorian fashion. It holds up the career of Dr. Valerie Steele, Director of the Museum at the Fashion Institute of Technology, as a model for how to conduct historical research into Victorian clothing and how to bring the results of that research to a broader public. It encourages academics to use the Internet to connect with a non-academic public that is already engaged with the Victorians through the medium of clothing, and it urges readers in general to see Neo-Victorian “mashup” dressing as an opportunity for serious exchange of knowledge about nineteenth-century culture.

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Cramer, Lorinda. "Making ‘everything they want but boots’: Clothing Children in Victoria, Australia, 1840–1870." Costume 51, no. 2 (September 2017): 190–209. http://dx.doi.org/10.3366/cost.2017.0024.

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Dress was charged with meaning in the British colonies. Its visual cues made dress an obvious vehicle for formulating identity in material ways, and as a communicative device it was a means to measure migrants of unknown social origin — though not always with success. This article explores children's clothing in south-eastern Australia during the decades spanning the mid-nineteenth century, when the Port Phillip District transformed from a pastoral settlement into the thriving gold-rush colony of Victoria, attracting migrants from around the globe. In particular, it focuses on the material practices of mothers in clothing their children. In considering the links between a mother's domestic needlework and expressions of identity, it develops the concept of clothing as a visible indicator to observers of a mother's care of and devotion to her children, while acknowledging the circumstances that may have influenced her sewing — shortages of labour and materials, isolation and the financial uncertainty of life in a new colony.

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Patraș, Roxana. "Hayduk novels in the nineteenth-century Romanian fiction: notes on a sub-genre." Swedish Journal of Romanian Studies 2, no. 1 (May 16, 2019): 24–33. http://dx.doi.org/10.35824/sjrs.v2i1.18769.

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In the context of nineteenth and early twentieth-century Romanian literature, hajduk novels and hajduk short fiction (novella, short-story, tale) are called to bring back a lost “epicness,” to give back the hajduks their lost aura. But why did the Romanian readers need this remix? Was it for ideological reasons? Did the growing female readership influence the affluence of hajduk fiction? Could the hajduk novels have supplied the default of other important fiction sub-genres such as children or teenage literature? The present article supports the idea that, as a distinct fiction sub-genre, the hajduk novels convey a modern lifestyle, attached to new values such as the disengagement from material objects, the democratization of access to luxury goods and commodities, and the mobility of social classes. Clothing, leisure, eating/ drinking/ sleeping/ hygiene, work, military and forest/ nomad life, and ritual items that are mentioned in these novels can help us correlate the technical tendencies reflected in the making of objects to a particular ethnicity (Romanian).

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Charpy, Manuel. "Craze and Shame: Rubber Clothing during the Nineteenth Century in Paris, London, and New York City." Fashion Theory 16, no. 4 (December 2012): 433–60. http://dx.doi.org/10.2752/175174112x13427906403769.

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Michie, Elsie B. "DRESSING UP: HARDY’S TESS OF THE D’URBERVILLES AND OLIPHANT’S PHOEBE JUNIOR." Victorian Literature and Culture 30, no. 1 (March 2002): 305–23. http://dx.doi.org/10.1017/s1060150302301153.

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THE ANXIETY ABOUT BEING ill- or well-dressed that Margaret Oliphant evokes so vividly in this passage was particularly acute in the last half of the nineteenth century when changes in the clothes people wore reflected increasing class mobility. With the growth of a ready-to-wear clothing industry that made it more and more difficult to distinguish the bourgeoisie from the lower echelons of society, “dress became,” as Charles Blanc argued in 1872, “an image of the rapid movement that carries away the world” (qtd. in Benjamin 74). Alongside and as a result of this democratization of dress, a backlash occurred in which subtleties of dress became a means of reinforcing the very class distinctions that seemed to be vanishing in the late nineteenth century. As Rudolph von Jhering argued in 1869, “Fashion is the barrier — continually raised anew because continually torn down — by which the fashionable world seeks to segregate itself from the middle region of society” (qtd. in Benjamin 74). In Tess of the d’Urbervilles and Phoebe Junior, Thomas Hardy and Oliphant use fashion to explore the freedoms and limitations of late nineteenth- century class mobility by telling the story of heroines who are able, in part through education, to separate themselves from their lower-class roots, a separation that is marked in each case by a change in attire.

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Sessions, Jennifer. "Making Settlers Muslim: Religion, Resistance and Everday Life in Nineteenth-Century French Algeria." French History 33, no. 2 (April 1, 2019): 259–77. http://dx.doi.org/10.1093/fh/crz005.

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Abstract On 26 April 1901, members of the Righa tribe overran the French colonial village of Margueritte in central Algiers province. They seized the settlement’s male colonists and demanded they ‘make [them]selves Muslims’ by reciting the shehada and donning North African clothing. Several Europeans who could not or would not comply were killed. This article explores the meanings of this forced conversion of European settlers, which made the Margueritte revolt unique in the history of Algerian resistance to French colonialism. For French colonial officials, the religious ritual indicated the causal role of ‘Islamic fanaticism’ in fomenting the revolt. Administrators and magistrates focused their investigations on the religious habits of the revolt’s leaders, possible ties to Sufi brotherhoods and pan-Islamist conspiracies. But in doing so, they largely overlooked the more quotidian meanings of the conversion ritual for the inhabitants of Margueritte itself. By resituating the symbolic transformation of body and soul within the cultural logics of everyday life in the settler village, the article attempts to map out the more mundane social practices by which ethno-religious colonial hierarchies were enacted and embodied in French Algeria.

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Micklewright, Nancy. "London, Paris, Istanbul, and Cairo: Fashion And International Trade in the Nineteenth Century." New Perspectives on Turkey 7 (1992): 125–36. http://dx.doi.org/10.15184/s0896634600000534.

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This paper is an examination of the relationship between the Anglo-Turkish Convention of 1838 and the transformation in Ottoman women's dress which took place during the nineteenth century. Until now, there has been a tendency to assume a direct cause-and-effect relationship between the Anglo-Turkish Convention and other economic treaties of the period, and fashion. The argument has been that the substantial increase in the volume of imported textiles and other goods led to a change in clothing styles, and indeed to changes in Ottoman taste generally, but my study of Ottoman women's dress indicates that the situation was much more complex. It is clear that the transformation in dress was well under way by the time of the Anglo-Turkish Convention, proceeding at its own rate, tied to events other than the treaty. In this context, fashion represents one of a whole complex of components of culture which, although affected by economic developments, are primarily social phenomena. Examining an area such as fashion (or painting or theater, for instance) will lead to a richer understanding of the period of the Anglo-Turkish Convention.

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Warner, Patricia Campbell. "From Clothing for Sport to Sportswear and the American Style: The Movies Carried the Message, 1912–1940." Costume 47, no. 1 (January 1, 2013): 45–62. http://dx.doi.org/10.1179/0590887612z.00000000014.

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When I hear the words ‘fashion’ and ‘sport’ together, what immediately comes to mind is sportswear — that casual collection of menswear-styled separates that the world now lives in. The history of its development as the essence of American Style covered some thirty to forty years. These were the same years that American movies were taking over the imagination of the world. In my opinion, this was not a coincidence. The movies are unique in the twentieth century for being both an unparalleled reflection of and influence on who we are at any given moment. Sportswear, as the foundation of American Style, developed hand in hand with the growing influence of American movies. Movies, in fact, carried this new look almost instantaneously to the rest of the world, creating a demand that few acknowledged or even realized at the time. As we will see, many influences came together to create this twentieth- century phenomenon. It all began with women's enthusiasm for sport in the mid-nineteenth century.

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Klassen, Pamela E. "The Robes of Womanhood: Dress and Authenticity among African American Methodist Women in the Nineteenth Century." Religion and American Culture: A Journal of Interpretation 14, no. 1 (2004): 39–82. http://dx.doi.org/10.1525/rac.2004.14.1.39.

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AbstractScholars of American religion are increasingly attentive to material culture as a rich source for the analysis of religious identity and practice that is especially revealing of the relationships among doctrine, bodily comportment, social structures, and innovation. In line with this focus, this article analyses the ways nineteenth-century African American Methodist women turned to dress as a tool to communicate religious and political messages. Though other nineteenth-century Protestants also made use of the communicative powers of dress, African American women did so with a keen awareness of the ways race trumped clothing in the semiotic system of nineteenth-century America. Especially for women entering into public fora as preachers and public speakers, dress could act as a passport to legitimacy in an often hostile setting, but it was not always enough to establish oneself as a Christian lady. Considering the related traditions of plain dress and respectability within the African Methodist Episcopal (AME) church, this essay finds that AME women cultivated respectability and plainness within discourses of authenticity that tried—with some ambivalence—to use dress as a marker of the true soul beneath the fabric. Based primarily on the autobiographical and journalistic writings of women such as Jarena Lee, Amanda Berry Smith, Hallie Q. Brown, and Frances Ellen Watkins Harper, as well as accounts from AME publications such as the Christian Recorder and the Church Review, and other church documents, the essay also draws on the work of historians of African American women and historians of dress and material culture. For nineteenth-century AME women, discourses of authenticity could be both a burden and a resource, but either way they were discourses that were often remarkably critical, both of selfmotivation and of cultural markers of class, race, and gender in a world that made a fetish of whiteness.

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Gossman, Lionel, and Stephen Bann. "The Clothing of Clio: A Study of the Representation of History in Nineteenth-Century Britain and France." Modern Language Review 81, no. 1 (January 1986): 203. http://dx.doi.org/10.2307/3728805.

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Wottle, Martin. "Opposing Prêt-à-Porter: Mills, Guilds and Government on Ready-made Clothing in Early Nineteenth-Century Stockholm." Scandinavian Economic History Review 56, no. 1 (March 2008): 21–40. http://dx.doi.org/10.1080/03585520801948500.

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Walker, Lawrence, and Stephen Bann. "The Clothing of Clio: A Study of the Representation of History in Nineteenth-Century Britain and France." American Historical Review 90, no. 4 (October 1985): 922. http://dx.doi.org/10.2307/1858876.

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Orr, Linda, and Stephen Bann. "The Clothing of Clio. A Study of the Representation of History in Nineteenth-Century Britain and France." History and Theory 24, no. 3 (October 1985): 307. http://dx.doi.org/10.2307/2505172.

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Waterhouse, Harriet. "A Fashionable Confinement: Whaleboned Stays and the Pregnant Woman." Costume 41, no. 1 (June 1, 2007): 53–65. http://dx.doi.org/10.1179/174963007x182336.

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For around 400 years fashion and decency required a neatly boned body, yet at the same time many women spent much of their adult lives pregnant. How women were able to dress would affect their role in public society, yet letters and diaries show little reduction in their daily activities. Evidence of what was actually worn is scarce, perhaps because the dilemma was not so great as we imagine — whenever clothing is mentioned or depicted we see women wearing normal garments adapted with the addition of one or two items. Front-lacing stays could be adapted with stomachers, and some back-lacing ones exist with additional side-lacing; both styles would suit the pregnant and non-pregnant state alike. It is not until the nineteenth century that specific maternity corsets and clothing begin to appear, when general corset design and fashion styles became impossible to adapt without structural alteration.

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Rudd Putman, Tyler, and Matthew Brenckle. "Tajuro's Jacket: A Story of Japanese Castaways, Russian Ambassadors and a Remarkable Early Nineteenth-Century Sailor's Jacket." Costume 55, no. 2 (September 2021): 240–65. http://dx.doi.org/10.3366/cost.2021.0201.

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This article examines the historical and material context of a rare sailor's jacket, c. 1804, probably produced in England and worn by a Japanese castaway named Tajuro (among the first Japanese men to circumnavigate the globe) during a Russian expedition to Japan. We place Tajuro's jacket in the longer history of garments worn by sailors and labourers. Because it is the only surviving example definitively used at sea by an identified seaman on a particular voyage, from the long eighteenth century, Tajuro's jacket provides a glimpse into what European, Russian, and American sailors wore in this era. It is an invaluable addition to the scanty material archive of common sailors’ clothing with a story that shows the global possibilities of early modern travel.

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Thepboriruk, Kanjana Hubik. "Dressing Thai." Journal of Applied History 2, no. 1-2 (August 27, 2020): 112–28. http://dx.doi.org/10.1163/25895893-bja10007.

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Abstract Public attire and policies governing it have been a reoccurring feature of Siamese/Thai nation building since the nineteenth century. Clothing has been political instruments for rulers and regime in raising the global status of Siam and Siamese Kings, transforming the Kingdom of Siam into the Nation of Thailand, reviving the popularity of the monarchy, promoting national unity, and provoking political opponents. Their collective efforts during the past one and half century gradually normalised the policing of Thai bodies and increased the state control of public attire in service of the Nation. Today, despite such attire no longer being criminalised, the possible negative political, social, economic, and legal consequences of non-conformity continue to drive Thais to accept the State’s ‘invitation’ to use their bodies in promoting its agenda.

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Beck, Roger B. "Bibles and Beads: Missionaries as Traders in Southern Africa in the Early Nineteenth Century." Journal of African History 30, no. 2 (July 1989): 211–25. http://dx.doi.org/10.1017/s0021853700024105.

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Trade across the Cape frontier in the first three decades of the nineteenth century, and government attempts to regulate that trade, cannot be understood without first considering the role of Protestant missionaries as traders and bearers of European manufactured goods in the South African interior. From their arrival in 1799, missionaries of the London Missionary Society carried on a daily trade beyond the northern and eastern boundaries of the Cape Colony that was forbidden by law to the colonists. When missionaries of the Methodist Missionary Society arrived in the mid-1810s they too carried beads as well as Bibles to their mission stations outside the colony. Most missionaries were initially troubled by having to mix commercial activities with their religious duties. They were forced, however, to rely on trade in order to support themselves and their families because of the meagre material and monetary assistance they received from their societies. They introduced European goods among African societies beyond the Cape frontiers earlier and in greater quantities than any other enterprise until the commencement of the Fort Willshire fairs in 1824. Most importantly, they helped to bring about a transition from trade in beads, buttons and other traditional exchange items to a desire among many of the peoples with whom they came into contact for blankets, European clothing and metal tools and utensils, thus creating a growing dependency on European material goods that would eventually bring about a total transformation of these African societies.

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Vilches, Patricia. "Alberto Blest Gana and the Sensory Appeal of Wealth." Open Cultural Studies 5, no. 1 (January 1, 2021): 81–95. http://dx.doi.org/10.1515/culture-2021-0006.

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Abstract This essay explores sensory stimuli in La aritmética en el amor [Arithmetic in Love/Economics of Love] (1860) as they relate to the consumer preferences (for clothing, furniture, jewellery) and purchasing practices of nineteenth-century Santiago, Chile. The novel presents detailed descriptions, for example, of fine fabrics, emphasising the sounds that the wearers of such fabric reproduce as they move about. Wealthy or not, people feel the pressure to present themselves in their best garments, but the “best noise” is made by the rich, who transmit the affect of opulence to the less fortunate. Overall, to radiate a sensory appeal, characters frequent the city of Santiago and patronise the finest clothing stores. From our very first encounter with the protagonist Fortunato Esperanzano, he is dressed accordingly, engaging with Santiago and showing in his persona that he shops only for nice clothes and the best cigars. From a Lefebvrian perspective, Fortunato represents how Chile’s modernisation transforms the capital’s “marketplace” as a social space where a new luxury economy flourishes and a traditional, rigid social order is maintained.

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Adams, Christine. "The Gallic Singularity and the Royal Mistress." French Politics, Culture & Society 38, no. 1 (March 1, 2020): 44–66. http://dx.doi.org/10.3167/fpcs.2020.380103.

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The relationship of the French king and royal mistress, complementary but unequal, embodied the Gallic singularity; the royal mistress exercised a civilizing manner and the soft power of women on the king’s behalf. However, both her contemporaries and nineteenth- and early twentieth-century historians were uncomfortable with the mistress’s political power. Furthermore, paradoxical attitudes about French womanhood have led to analyses of her role that are often contradictory. Royal mistresses have simultaneously been celebrated for their civilizing effect in the realm of culture, chided for their frivolous expenditures on clothing and jewelry, and excoriated for their dangerous meddling in politics. Their increasing visibility in the political realm by the eighteenth century led many to blame Louis XV’s mistresses—along with Queen Marie-Antoinette, who exercised a similar influence over her husband, Louis XVI—for the degradation and eventual fall of the monarchy. This article reexamines the historiography of the royal mistress.

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Rose, Clare. "Clothing the Poor in Nineteenth-Century England. By Vivienne Richmond/A Cultural History of Jewish Dress. By Eric Silverman." Cultural and Social History 11, no. 4 (December 2014): 623–25. http://dx.doi.org/10.2752/147800414x14056862572267.

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Hamlett, Jane, and Lesley Hoskins. "Comfort in Small Things? Clothing, Control and Agency in County Lunatic Asylums in Nineteenth- and Early Twentieth-Century England." Journal of Victorian Culture 18, no. 1 (March 2013): 93–114. http://dx.doi.org/10.1080/13555502.2012.744241.

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Kellner, Hans. "The Clothing of Clio: A Study of the Representation of History in Nineteenth-Century Britain and France. Stephen Bann." Journal of Modern History 58, no. 2 (June 1986): 535–36. http://dx.doi.org/10.1086/243020.

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Rees, Amanda. "Identifying Twentieth Century Dude Ranches in the Teton Valley Region." UW National Parks Service Research Station Annual Reports 31 (January 1, 2008): 133–34. http://dx.doi.org/10.13001/uwnpsrc.2008.3725.

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The states of Wyoming, Montana, and to a lesser extent Colorado are commonly understood as the industrial heartland of U.S. dude ranching in the twentieth and twenty-first centuries (Borne 1983). Though there were earlier small scale efforts to host easterners on ranches in the West from the 1850s onwards, dude ranching is commonly understood to have begun in 1879 in Medora, North Dakota by the Eaton Brothers (Borne 1983, Rothman 1998). Dude ranching--when outsiders pay to stay on a ranch Â usually demonstrates most/if not all of the following six characteristics: 1). it embraces of the West's nineteenth century agricultural heritage; 2). it celebrates wild, preserved landscapes; 3). it provides an economic vehicle for ranchers to maintain their cultural heritage, and/or investors and managers to have a piece of the American West; 4). it demonstrates a distinct dude ranch aesthetic (architecture, clothing, food, music, stories, education and landscape); 5). it includes horseÂrelated activities; and 6). it provides a safe and contained regional experience transforming the traveler from "mere' tourist status to that of a liminal space inÂbetween outsider and insider. Since the late nineteenth century Wyoming has developed five centers of dude ranch activity located primarily near mountain ranges, within or close to public lands (National Park Service (NPS) or Forest Service (FS)): 1) Medicine Bow Mountain Range in southeastern Wyoming; 2) Big Horn Mountain Range (eastern and western slopes) in north-central Wyoming; 3) eastern gate region of Yellowstone National Park, northwest Wyoming; 4) Wind River Mountain Range (eastern and western slopes), northwestern Wyoming; and 5) Teton Mountain Range in northwestern Wyoming. My work seeks to establish the extent of dude ranching in Teton Valley.

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Trach, Vira. "HYGIENIC PERIODICALS AND THE SHAPING OF DISCOURSE OF PUBLIC HEALTH IN LVIV AT THE BEGINNING OF THE TWENTIETH CENTURY." City History, Culture, Society, no. 4 (November 7, 2018): 136–61. http://dx.doi.org/10.15407/mics2019.04.136.

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During the nineteenth century socio-political and economic transformations, as well as scientific discoveries, changed views on health and its value. Also,the concept of public health, which was no longer concentrated on the individual but on a group of people, was included in the sphere of interest of thebroader strata of society in the Central and Eastern Europe. The hygienic movement occupied an important modernizing segment in a wide range ofsocial movement and had an influence on changes in urban space during the nineteenth and the twentieth centuries. Cleanliness and health became signsof modern city and civilization.More noticeable public interest to hygienic ideas in Lviv emerged in the late nineteenth-early twentieth century. One of the manifestations of this was the emergence of hygienic periodicals that focused on issues of public health issues, and especially hygiene, covered almost all areas of everyday life – hygieneof clothing, nutrition, school an urban hygiene etc. At the first time, such journal was published in Lviv during 1872. Four periodicals dedicated to hygiene were published in the city in the period between 1902 and 1914. The publishing of all these periodicals was a non-profit enterprise, and editors were constantly looking for financial resources to ensure their existence.In the first place, the initiative of publishing belonged to Ukrainian and Polish doctors. Lviv hygienic periodicals were published in Polish and Ukrainian and were addressed to the respective national communities. They discussed the same issues, spread the same ideas, but focused mostly on Polish or Ukrainian readers, reflected the socio-political ideas of that time and integrated the concept of health into the competitive ideas of national development.

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BELLOS, D. "Review. The Clothing of Clio. A Study of the Representation of History in Nineteenth-Century Britain and France. Bann, Stephen." French Studies 39, no. 1 (January 1, 1985): 101–2. http://dx.doi.org/10.1093/fs/39.1.101.

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Abrego, Sonya. "From Cattle Brand to Corporate Brand: Blue Jean Trademarks in Mid-century America." Journal of Design History 34, no. 2 (March 30, 2021): 116–28. http://dx.doi.org/10.1093/jdh/epab007.

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Abstract Cattle brands are physical imprints of ownership applied to the flesh of animals. They were, in the nineteenth century, indispensable to ranchers for differentiating their cattle from a competitors’ stock on the open range. The branding symbol’s utility as a legible marker of property ownership declined after widespread fencing delimited the plains. Yet cattle brands remained present in vernacular visual and material culture as decorative features and motifs signifying the Old West into the twentieth century. Cattle brand imagery, largely divorced from its functional origins, was recombined and repurposed to add decorative flourish to a variety of garments, wearable accessories, and domestic objects. This article explores the persistence of cattle brands as a popular trope in mid-century America and focuses on denim jeans, manufactured by Levi Strauss & Co., and, in particular, Lee, companies that fashioned their company logos in the guise of a brand. Through material culture analysis I will examine how clothing companies employed cattle brand iconography in advertising, promotions, and product design to consider a historical moment in the cattle brand’s semiotic shift from indexical trace of property ownership to corporate brand logo.

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Daly, Suzanne. "KASHMIR SHAWLS IN MID-VICTORIAN NOVELS." Victorian Literature and Culture 30, no. 1 (March 2002): 237–56. http://dx.doi.org/10.1017/s1060150302301116.

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WHEN CLOTH OR CLOTHING made for a specific purpose in one cultural context begins to be produced as a commodity and is appropriated as fashion by a different culture, meanings reverberate on both sides of the transaction. The commercial traffic with India in the nineteenth century brought many such commodities into the homes of the English middle class. Some of these items, and particularly textiles, led a double life, functioning at once as exotic foreign artifacts and as markers of proper Englishness. If mid-Victorian novels may be said to have assisted in circulating and crystallizing, rather than merely reflecting, social norms among their readers, then the regularity with which certain Indian textiles and especially shawls reappear in these novels bespeaks their burgeoning importance both commercially and ideologically.

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Mesch, Rachel. "“O My Hero! O My Comrade in Arms! O My Fiancée!”: Gender Crossing and Republican Values in Jane Dieulafoy's Fictions." PMLA/Publications of the Modern Language Association of America 132, no. 2 (March 2017): 314–30. http://dx.doi.org/10.1632/pmla.2017.132.2.314.

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The famed French explorer and writer Jane Dieulafoy became a celebrity in the late nineteenth century for the discoveries that she and her husband, Marcel, made on their excursions in Persia. Dieulafoy wore pants during this time and upon resettling in Paris acquired a permit from the Parisian police to wear men's clothing, even as she was embraced by the socially conservative literary and political elite. Recognizing Dieulafoy through the modern notion of transgender allows us to make sense of that seeming contradiction. Two of her long-overlooked novels, Volontaire (1892) and Frère Pélage (1894), can be read as early transgender narratives. Through their gender-crossing protagonists, these texts provide an intellectual framework for understanding how Dieulafoy reconciled her gender expression with the religious and social structures that she held dear.

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Maschek, Dominik. "NotCensusbutDeductio: Reconsidering the ‘Araof Domitius Ahenobarbus’." Journal of Roman Studies 108 (August 6, 2018): 27–52. http://dx.doi.org/10.1017/s0075435818000515.

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AbstractSince its rediscovery in the late nineteenth century, the ‘Araof Domitius Ahenobarbus’ has become a keystone in the history of Roman republican art. Following the seminal interpretation of Alfred von Domaszewski, the monument is usually understood as commemorating the key stages of the Roman census. This paper offers a fundamental reappraisal of theAra's imagery, based on an iconographic analysis which takes into account all relevant signs of rank and status such as shoes, clothing and other attributes. From this it becomes clear that none of the three protagonists on theAracan be identified as a censor. Consequently, the monument neither commemorated a census nor was it a censorial location. Instead, I suggest that theAraactually shows another important political event, namely thedeductioof a Roman colony which I tentatively identify as thecolonia Neptuniafounded by Gaius Gracchus in 123b.c.

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Journal articles on the topic 'Nineteenth Century Clothing'

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