Negli anni dell'accumulo digitale, ci sono libri che puntano su un potere della letteratura: quello di riassegnare valore agli scarti, agli oggetti abbandonati, ai detriti e alle cose non più funzionali. Su Lo Specchio di Carta... more
Negli anni dell'accumulo digitale, ci sono libri che puntano su un potere della letteratura: quello di riassegnare valore agli scarti, agli oggetti abbandonati, ai detriti e alle cose non più funzionali. Su Lo Specchio di Carta recensisco i cassetti stipati di Elvira Seminara e rifletto sul ruolo degli armadi nell'immaginario e in letteratura.
The point of departure in this article is a ”private” photo collection from 1956, found in the archives of the Museum of Decorative Arts and Design in Oslo. In this collection the married couple Thor Bentz Kielland and Edle Due Kielland,... more
The point of departure in this article is a ”private” photo collection from 1956, found in the archives of the Museum of Decorative Arts and Design in Oslo. In this collection the married couple Thor Bentz Kielland and Edle Due Kielland, the director at the museum and the head of the textile department, document their own wardrobes through photographs and registration cards. The article explores the hybrid character of this material. The focus is on the relation to the museum’s knowledge practices and fashionable clothes as a field of knowledge. In addition
it explores the relationships between the expert and the object of knowledge, and the relations between wardrobes and archives. The article also suggests how the ambiguous and multifaceted material may be activated in future research.
Each morning we establish an image and an identity for ourselves through the simple act of getting dressed. Why Women Wear What They Wear presents an intimate ethnography of clothing choice. The book uses real women's lives and clothing... more
Each morning we establish an image and an identity for ourselves through the simple act of getting dressed. Why Women Wear What They Wear presents an intimate ethnography of clothing choice.
The book uses real women's lives and clothing decisions – observed and discussed at the moment of getting dressed – to illustrate theories of clothing, the body and identity. Woodward pieces together what women actually think about clothing, dress and the body in a world where popular media and culture presents an increasingly extreme and distorted view of femininity and the ideal body.
Immediately accessible to all those who have stood in front of a mirror and wondered 'does this make me look fat?', 'is this skirt really me?' or 'does this jacket match?', Why Women Wear What They Wear provides students of anthropology and fashion with a fresh perspective on the social issues and constraints we are all consciously or unconsciously negotiating when we get dressed.
Contents
Introduction Chapter 1: Understanding Women and their Wardrobes. Chapter 2: Hanging Out in the Home and the Bedroom. Chapter 3: But What Were You Wearing? Clothes and Memories. Chapter 4: Looking Good, Feeling Right: The Aesthetics of Getting Dressed. Chapter 5: Looking in the Mirror: Seeing and Being Seen. Chapter 6: Mothers, Daughters, Friends: Dressing in Relationships. Chapter 7: Fashion: Making and Breaking the Rules. Chapter 8: Dressing up and Dressing Down: Can you Wear Jeans? Conclusion.
