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  • 1. Borkopp-Restle, Birgitt
    et al.
    McNeil, Peter
    Stockholm University, Faculty of Humanities, Centre for Fashion Studies. University of Technology, Australia; Aalto University, Finland.
    Martinetti, Sara
    Miller, Lesley
    Riello, Giorgio
    Museums and the Making of Textile Histories: Past, Present, and Future2016In: Perspective: actualite en l'histoire de l'art, ISSN 2269-7721, no 1, 43-60 p.Article in journal (Refereed)
    Abstract [fr]

    Nombre de musées différents collectionnent et préservent les textiles, et collectent les données les concernant. Ils les interprètent également par le biais d’expositions temporaires ou semi permanentes, de publications et d’interventions sur des sites web. Ces interprétations se présentent isolément, ou sont parfois inscrites dans un cadre plus large qui englobe l’histoire de l’art et du design, la science et la technologie, ou encore l’histoire sociale et l’anthropologie, l’histoire locale et les cultures du monde (types de textiles et approches utilisées dans les grandes capitales de la mode – Londres, Paris, Milan, New York – possédant une longue tradition de production et de consommation textile, ou dans des villes manufacturières telles que Krefeld, Lyon ou Manchester, par exemple).

    Malgré tout, les événements organisés autour des textiles attirent rarement l’attention du grand public ou les éloges de la critique – hormis peut-être certaines expositions novatrices telles que celles organisées par Jean-Paul Leclercq (« Jouer la lumière », Paris, Les Arts décoratifs, Musée de la Mode et du textile, 2001), Thomas P. Campbell, (« Tapestry in the Renaissance: Art and Magnificence, New York, The Metropolitan Museum of Art, 2002), Amelia Peck et al. (« Interwoven Globe : The Worldwide Textile Trade, 1500-1800 », New York, The Metropolitan Museum of Art, 2013-2014), ou John Styles (« Threads of Feeling », Londres, The Foundling Hospital, 2010-2011/Colonial Williamsburg, 2014). Cette discussion vise à tirer parti des différentes expériences culturelles des participants et des diverses formations disciplinaires qu’ils incarnent :

    - Encourager le débat sur le rôle joué par les musées en matière de fabrication et de représentation de l’histoire des textiles. Les musées ne sont pas simplement dépositaires d’objets textiles : ils écrivent aussi leur histoire, qu’elle soit universitaire ou grand public, par le biais d’expositions et de publications. Comment ce travail s’articule-t-il avec la recherche universitaire et le partage des connaissances ? Tient-il compte des nouveaux apports de la recherche et alimente-t-il celle-ci ? Comment faire évoluer à l’avenir les échanges entre musées et universités dans différentes régions et cultures du monde ?

    - Déterminer quels musées font preuve d’innovation (à l’échelle locale, régionale, nationale et internationale). En quoi consistent ces innovations, et peuvent-elle contribuer à déterminer de futures orientations, notamment en matière de collection et d’interprétation ? Par interprétation, il faut entendre ici tout type d’explication sous forme numérique ou analogique fournie pour contextualiser les œuvres exposées.

    - Il est difficile, désormais, d’affirmer que seuls les historiens de l’art sont à même de proposer une étude dynamique des objets datant de la période post 1500, et l’intérêt quasi exclusif porté jusqu’ici aux textiles attachés à la tradition bien établie de la collection d’amateur d’art (essentiellement les tentures et tapisseries répondant à des commandes de prestige) est aujourd’hui remis en question par l’adoption d’approches plus globales par les historiens et les spécialistes de l’histoire du design et de la culture matérielle.

  • 2.
    Lomas, Clare
    et al.
    London College of Fashion, UK.
    McNeil, Peter
    Stockholm University, Faculty of Humanities, Centre for Fashion Studies. University of Technology, Sydney.
    Gray, Sally
    University of New South Wales, Sydney, Australia.
    Beyond the Rainbow: Queer Shoes2011In: Shoes: A History from Sandals to Sneakers / [ed] G Riello P McNeil, London: Berg Publishers, 2011, 1:2, 290-305 p.Chapter in book (Other academic)
  • 3.
    McNeil, Peter
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    A cultural history of dress and fashion in the age of Enlightenment2017Collection (editor) (Refereed)
  • 4.
    McNeil, Peter
    Stockholm University, Faculty of Humanities, Centre for Fashion Studies. University of Technology Sydney, Australia.
    A Fashion Meeting: an 18th-Century Water-Colour for the Printed Gallérie des Modes, 17792012Other (Other academic)
  • 5.
    McNeil, Peter
    Stockholm University, Faculty of Humanities, Centre for Fashion Studies.
    A Line of Beauty: The commingling of art and fashion2011In: Art and Australia, ISSN 0004301X, Vol. 48, no 4, 672-679 p.Article in journal (Other academic)
  • 6.
    McNeil, Peter
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Alchemical Power. On the Duchess and the Ladies who Lunched2013In: Vestoj. The Journal of Sartorial Matters, Vol. 1, no 4, 17-26 p.Article in journal (Other (popular science, discussion, etc.))
    Abstract [en]

    The power of fashion clothing to attract attention has never been so pervasive, but its meaning has changed. What once seemed unobtainable and was achieved via years of aesthetic and personal ‘training’ sits on a stage quite different from that of the inter-war years. This world disappeared with the Second World War, despite various attempts to revive it in the fashions and entertainments of the 1950s and itsmythological reflection in Hollywood films of that era. The essay reconsiders the infamous essay by Truman Capote; a part of his unfinished novel Answered Prayers, published as La Côte Basque 1965 in Esquire in 1975.

  • 7.
    McNeil, Peter
    Stockholm University, Faculty of Humanities, Centre for Fashion Studies.
    Art and Dress2010In: Berg Encyclopedia of World Dress and Fashion, Volume 8: West Europe / [ed] L Skov, Oxford and New York: Berg Publishers, 2010, 522-527 p.Chapter in book (Other academic)
  • 8.
    McNeil, Peter
    Stockholm University, Faculty of Humanities, Centre for Fashion Studies.
    Australian and New Zealand Art History Historiographical Bibliography Incorporating the Australian Art and Design History bibliography  Including texts relating to interiors, architecture, furniture, decorative arts and crafts; texts published pre-1995, including certain primary sources prepared by Professor Peter McNeil, pp 24-34: With Benjamin Thomas (ed)2011In: Journal of Art Historiography, ISSN 0424752, Vol. 1, no 4/June, 1-36 p.Article in journal (Other academic)
    Abstract [en]

    First published bilbiography of works relating to crafts, design and decorative arts in Australia, mainly items pre 1994, based on McNeil's MA Thesis Australian National University 1994

  • 9.
    McNeil, Peter
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    'Beauty in Search of Knowledge': Eighteenth-Century Fashion and the World of Print2017In: Fashioning the Early Modern: Dress, Textiles, and Innovation in Europe, 1500-1800 / [ed] Evelyn Welch, Oxford: Oxford University Press, 2017Chapter in book (Refereed)
  • 10.
    McNeil, Peter
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    "Beyond the horizon of hair": masculinity, nationhood and fashion in the Anglo-French Eighteenth century2013In: Hinter dem Horizont, Band 2: Projektion und Distinktion landlicher Oberschichten im europaischen Vergleich, 17-19. Jahrhundert / [ed] Dagmar Friest, Frank Schmekel, Aschendorff Verlag, 2013, 1, 79-90 p.Chapter in book (Refereed)
    Abstract [en]

    Fashion is a distinctive format as it is both an economic product and a part of the imaginative horizon. It exists in a double register of material actions and also in its representations. The wearing of false hair in replacement of one’s own is a cultural act that was transformed from the social requisite of an élite to a more individualised consumer choice over the course of the long-eighteenth century. Worn almost universally by men in England and very widely in France by the early-eighteenth century, the wig was offered in a variety of formats and qualities, and was constantly subject to fashion change and also innovation in design. Over the course of the century changing priorities about health, science and also aesthetics became allied with notions of comfort and convenience, meaning that the wig did not become ‘old fashioned’ but rather was ‘re- fashioned’ in new ways. Even at the time when the wearing of one’s own hair was gaining currency in the 1760-1770s, ‘fashion’ created new tastes for very high toupées, long tails and particularly mannered appearances for male wigs. Although wigs represented a cost, the hair of young men could likely be modified or amplified with false hair in order to appear fashionable. This paper will present aspects of the evidence that survives for this practice, as well as speculating at length on what the hairstyles might have meant or inferred. In this way, the chapter will consider both a social, bodily and material culture practice – hairstyling and hair-pieces – with broader social, psychological and cultural meanings.

  • 11.
    McNeil, Peter
    Stockholm University, Faculty of Humanities, Centre for Fashion Studies.
    Caricatura e moda: storia di una presa in giro2010In: Moda. Storia e Storie / [ed] M. Muzzarelli;.G., Riello, & Tosi Brandi, Milan: 9788861594906 , 2010, 156-167 p.Chapter in book (Refereed)
    Abstract [en]

    From the Italian for ‘charge’ or ‘loaded’, the caricature print emerged in large numbers in the eighteenth century in industrialising western Europe. It was in the second half of this century that the caricature which concerned itself primarily with the subject of fashion and manners rather than political or portrait themes developed. The origins and conventions of the fashion caricature include overlapping literary, theatrical, popular-religious and artistic traditions. Greco-Roman theorisations, performances and artistic depictions of the comic world turned upside down, and late medieval woodcuts, in which memento mori  themes of the dance of death and the bonfire of the vanities established the tropes of the veneer of civilisation and the futility of dress and cosmetics in arresting earthly time. The European carnival tradition, commedia dell’arte and puppetry which highlight human foibles, and the figure of the hag who deploys fashion and make-up in an act of sartorial and spiritual delusion, provided subjects for major Romantic artists working in the etching media such as Giambattista Tiepolo (1696-1770), Domenico Tiepolo (1727-1804) and Francisco Goya (1746-1828). Not fashion caricatures as such, nor were these images widely available, but their themes recur in the eighteenth-century caricature print. Caricature fashion prints also exist in a relationship to respectful engravings of the cries or occupations of the town, plates depicting national dress, and ‘costume plates’ depicting courtier men and ‘women of quality’ by 17th century artists including Abraham Bosse and J. D. de Saint-Jean in France and the Bohemian Wenceslaus Hollar (1607-1677) working in England. The work of Jacques Callot (1592-1635) in France crosses the boundary between observation and satire. Etched images take on new meanings when pointed  titles or moralising verse are appended; the caricature generally makes use of a combination of word and image.This essay examines the semantic and visual play of the caricature print and comments on contemporary applications.

  • 12.
    McNeil, Peter
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Caricature and Fashion- History of Mockery2013In: Reproduction, Representation, and Communication: Print Culture 1600-1900 / [ed] Kei-yin Huang, Taipei, Taiwan: National Yang-Ming University , 2013, 35-56 p.Chapter in book (Refereed)
    Abstract [en]

    English Version of Italian Article: McNeil, P.K. 2010, 'Caricatura e moda: storia di una presa in giro' in Muzzarelli, M.G., Riello, G. & Tosi Brandi, E. (eds), Moda. Storia e Storie, Bruno Mondadori, Milan, pp. 156-167 

  • 13.
    McNeil, Peter
    Stockholm University, Faculty of Humanities, Centre for Fashion Studies.
    Coiffures et postiches: extravagances capillaires au XVIIIe siecle2012In: Plein Les Yeux! / A feast for the eyes!: Le spectacle de la mode / Spectacular fashions / [ed] Shazia Boucher, Anne-Claire Laronde, Isabelle Paresys, Milan: Silvana Editoriale , 2012, 60-65 p.Chapter in book (Other academic)
  • 14.
    McNeil, Peter
    Stockholm University, Faculty of Humanities, Centre for Fashion Studies. University of Technology Sidney, Australia.
    Conference Report: Ländliche Eliten. Bäuerlich-bürgerliche Eliten in den friesischen Marschen und den angrenzenden Geestgebieten 1650-1850, a collaborative research project supported by the VolkswagenStiftung initiative ‘Research in Museums’ 2010- 2013: Conducted at the Carl von Ossietzky-Universität Oldenburg, Institut für Geschichte der Frühen Neuzeit, 20-22 September 20122012Other (Other academic)
  • 15.
    McNeil, Peter
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Conspicuous Waist: Queer Dress in the "Long Eighteenth Century"2013In: A Queer History of Fashion: from the closet to the catwalk / [ed] Valerie Steele, New Haven: Yale University Press, 2013, 71-107 p.Chapter in book (Other academic)
    Abstract [en]

    Why do many young gay men wish to appear thin, rich and pretty? What are the precursors for this way of being in the world? Why does society blame gay male designers for extreme female fashion trends? How do persecuted minorities manage their identity via clothing and fashionable looks? These are big questions indeed. They can be tested in part through an historical overview and a series of case studies.

    This chapter will examine the tantalising but difficult hypothesis that ‘gay style actually sets trends. It’s what straight people take fashion from’. Richard Martin proposed this in his short article ‘The Gay Factor in Fashion’ in Esquire Gentlemen, 1993, when he argued that gay male influence in the refining and defining of masculine style ‘by dint of their attraction to their own gender’ had never been more pronounced than in the street style of that period: ‘Straight suburban males in recent years have absorbed gay style signatures, including earrings and bandannas, and are now often indistinguishable from the gay clones of the 1970s... Christopher Street is our sartorial Ellis Island’.

    But ‘gay fashion’ before that point was often far from butch. This overview begins with the development of sodomitical subcultures in early-eighteenth century western Europe. Much is known of their fashionable taste including extreme colours, clashing colours and patterns, and sometimes cross-dressing. The chapter goes on to examine the function and tenacity of the aristocratic dress codes of the fin-de-siècle dandy which were adopted by numerous queer men until the 1960s.We still see this being played out in the generational conflict in the film The Boys in the Band (1970).  These Wildean strategies survive, what Alan Sinfield in his The Wilde century : effeminacy, Oscar Wilde, and the queer moment (1994) called the constellation of ‘effeminacy, leisure, idleness, immorality, luxury, insouciance, decadence and aestheticism’. As well as suggesting difference and excess, aristocratic dress codes might also have been adopted as the suggestion of wealthy assurance could excuse eccentric behaviour considered ‘other’. The corollary is the inter-war mannish lesbian such as the artist Gluck, whose eccentric but purposeful adoption of male dress in public was a privilege of her great wealth.

  • 16.
    McNeil, Peter
    Stockholm University, Faculty of Humanities, Centre for Fashion Studies.
    Crafting Queer Spaces: privacy and posturing2010In: Fashion, Interior Design and the Contours of Modern Identity / [ed] A Myzelev; J Potvin, Ashgate, 2010, 1, 19-41 p.Chapter in book (Other academic)
    Abstract [en]

    This paper examines several extraordinary spaces crafted by eccentric and famous men. It will be argued that they created novel and innovative 'queer space' for the projection of fluid male identities and fantasies employing intimate private spaces, furnishings, dress and diversions. In most cases the spaces developed in an organic way over time; even the planning process was odd. The cases will be the English patron-designers Horace Walpole (Strawberry Hill), William Beckford (Fonthill), the Swedish King Gustav III (Haga), and the 20th-century collector and connoisseur Henry Francis du Pont (Winterthur, Delaware). The notion of 'queer' that will be deployed is derived from David Halperin’s Foucauldian reading of sexuality: where queer ‘describes a horizon of possibility whose precise extent and heterogeneous scope cannot in principle be limited in advance’. In reading the meanings of the neo-gothic, neo-classical and historicising spaces created by these men, aspects of the relationships between the crafting of interior decoration, sensibility and sociability will be foregrounded.

  • 17.
    McNeil, Peter
    Stockholm University, Faculty of Humanities, Centre for Fashion Studies.
    Critical and Primary Sources in Fashion, the 20th Century to Today2009Book (Other (popular science, discussion, etc.))
    Abstract [en]

    Winner, Best anthology or edited book, AAANZ, Art History Association of Australia and NZ

    Citation: 

    Best Edited Book

    Peter McNeil, Fashion: Critical and Primary Sources. Late Medieval to Renaissance (4 volumes, 1600 pp.), Berg, Oxford and New York, 2009 

    Judges Report

    AAANZ 2010

    As with the Best Large Catalogue this year, the judges were encouraged by the extraordinary quality of entries in this category. Several major volumes were put forward which represent diverse fields of international scholarship notable for their interdisciplinary approaches. This year the sheer wealth and breadth of scholarship of the anthologies has made the task of judging particularly challenging complicated by entries that encompass such diverse fields. For that reason we have chosen to highly commend two edited books, both of which bring new and original scholarship to focus on major fields of enquiry, along with high production values, useful indexes and wonderful covers: ‘Photography Degree Zero: Reflections on Roland Barthes’s Camera Lucida’, edited by Geoffrey Batchen and published by MIT Press can rightfully claim to reopen the conversation on Barthes’ most influential 1980 text, by introducing a new generation of scholars to interpret and interrogate such intellectual heavyweights as Michael Fried, Victor Burgin and Rosalind Krauss; and ‘Reframing Darwin: Evolution and Art in Australia’ edited by Jeanette Hoorn, is a beautifully produced set of essays of original research by key experts in the field published by the wonderful Miegunyah Press at the University of Melbourne that makes a book into a beautiful object.

     

    The judges noted two significant themes in the submissions this year: the art history of Charles Darwin’s anniversary and the relatively new field of fashion histories. ‘Reframing Darwin’ is just one of the excellent submissions in the former category. In the latter category the judges noted the high quality of new work in the field and would like to present the award of Best Edited book to Peter McNeil’s 4-volume Fashion: Critical and Primary Sources.

    This monumental contribution to fashion history spans the late medieval to modern period. It is the result of a Herculean effort of scholarship, which will undoubted change the way that the field is understood by specialists and taught to future generations of scholars.

    Ann Stephen and Jennifer Milam

  • 18.
    McNeil, Peter
    Stockholm University, Faculty of Humanities, Centre for Fashion Studies.
    'Despots of Elegance': Mens Fashion 1715-19102016In: Reigning Men: Fashion in Menswear, 1715-2015 / [ed] Sharon Sadako Takeda, Kaye Durland Spilker, Clarissa M. Esguerra, Prestel , 2016Chapter in book (Refereed)
  • 19.
    McNeil, Peter
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    'Donald Friend (1915-1989) 'Love Me Sailor' 1949'2013Other (Other (popular science, discussion, etc.))
    Abstract [en]

    Catalogue entry on a painting concerning literary censorship painted by Australian artist Donald Friend in the remote town of Hill End, 1940s.

  • 20.
    McNeil, Peter
    Stockholm University, Faculty of Humanities, Centre for Fashion Studies.
    'Everything degenerates': The Queer Buttonhole2016In: The Languages of Flowers: Media of Floral Communication / [ed] I. Kranz, A. Schwan, E. Wittrock, Berlin: Wilhelm Fink Verlag, 2016, 1-2 p.Chapter in book (Refereed)
  • 21.
    McNeil, Peter
    Stockholm University, Faculty of Humanities, Centre for Fashion Studies.
    Fashion: Critical and Primary Sources: Late Medieval to Today2009Collection (editor) (Other academic)
    Abstract [en]

    Major multi-volume work of referemce which brings together the seminal writings on fashion. Winner of Best Edited Book, AAANZ 2010.

  • 22.
    McNeil, Peter
    Stockholm University, Faculty of Humanities, Centre for Fashion Studies.
    Fashion Houses2012In: Nordic Fashion Studies / [ed] P McNeil and L Wallenberg (eds), Stockholm: Axl Books, 2012, 245-270 p.Chapter in book (Other academic)
  • 23.
    McNeil, Peter
    Stockholm University, Faculty of Humanities, Centre for Fashion Studies.
    Fashion in Fiction: Text and Clothing in Literature, Film and Television2009Book (Refereed)
  • 24.
    McNeil, Peter
    Stockholm University, Faculty of Humanities, Centre for Fashion Studies.
    Flowers in the Art of Dress across the World2010In: Berg Encyclopedia of World Dress and Fashion, Volume 10: Global Perspectives / [ed] Eicher, Joanne B. & Tortora, Phyllis G., Berg Publishers, 2010, 146-155 p.Chapter in book (Other academic)
  • 25.
    McNeil, Peter
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Georg Simmel: the ‘philosophical Monet’2014In: Thinking through fashion: a guide to key theorists / [ed] Agnes Rocamora, Anneke Smelik, London: I.B. Tauris, 2014Chapter in book (Refereed)
  • 26.
    McNeil, Peter
    Stockholm University, Faculty of Humanities, Centre for Fashion Studies.
    How artists changed fashion: 'back-story'2011In: Art Monthly Australia, ISSN 10334025, Vol. #242, no August, 21-25 p.Article in journal (Other academic)
  • 27.
    McNeil, Peter
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies. University of Technology, Sydney, Australia.
    Ideology, Fashion and the Darlys’ "Macaroni" Prints2015In: Dress and Ideology: Fashioning Identity from Antiquity to the Present / [ed] Shoshana-Rose Marzel and Guy Stiebel, Bloomsbury Academic, 2015, 111-136 p.Chapter in book (Refereed)
    Abstract [en]

    As John B. Thompson notes, the concept and theory of ideology ‘first appeared in late eighteenth-century France’ via the thinking of the PhilosopheDestutt de Tracy[1] and has come to mean ‘systems of thought’, ‘systems of belief’ or ‘symbolic systems’ which pertain to social action or political practice’.[2] Central to the study of ideology is the rise of ‘mass communication’ and its relationship with the state. Writing mainly regarding the influential role of the press in twentieth-century life, Thompson acknowledges its seventeenth and eighteenth century precursive forms and remarks that ‘[t]he reproducibility of symbolic forms is one of the key characteristics that underlies the commercial exploitation of technical media by institutions of mass communication, and the commodification of symbolic forms which these institutions pursue and promote’.[3]If ideology is promulgated by and within mass communication and viewing positions, how then are we to interpret the matter of looking at an eighteenth-century caricature? How might an ideological effect work within what was considered a ‘low’ art form? What was the caricature’s relationship with ‘high art’? What intensity of viewing is necessary – how many people need to be able to ‘see’ - for there to be an ‘ideological’ impact? Is there a concrete difference between the reception of a political caricature, and one concerning manners, such as arose in very large numbers in the last third of the eighteenth century in England? How can we determine the ideological function of eighteenth-century printed satires of fashion? What was the ideological role when observed of the ‘witty expressions and humorous sallies’ that were a popular consumer item, as d’Archenholz observed of the many such broadsheets being sold in the streets of

    [1] John B. Thompson, Ideology and Modern Culture: Critical Social Theory in the Era of Mass Communication (Stanford: Stanford University Press, 1990), p. 2.

    [2] Thompson adds: 'For social life is, to some extent, a field of contestation, in which struggle takes place through words and symbols as well as through the use of physiscal force.' Ibid., p. 10.

    [3] Ibid., p. 166.

  • 28.
    McNeil, Peter
    Stockholm University, Faculty of Humanities, Centre for Fashion Studies.
    Introduction: Indexing Dress2012In: Fashion Theory: The Journal of Dress, Body and Culture, ISSN 1362-704X, E-ISSN 1751-7419, Vol. 16, no suppl., s5-s8 p.Article in journal (Other academic)
  • 29.
    McNeil, Peter
    Stockholm University, Faculty of Humanities, Centre for Fashion Studies.
    Libertine Acts: Fashion and Furniture2009In: The Places and Spaces of Fashion, 1800-2007 / [ed] John Potvin, New York: Routledge, 2009, 1, 154-165 p.Chapter in book (Refereed)
  • 30.
    McNeil, Peter
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    ‘Movement and Pep’: Re-animating the Duchess of Windsor’s clothing fashions2013In: Mode und Bewegung: Beiträge zur Theorie und Geschichte der Kleidung / [ed] Anna-Brigitte Schlittler, Katarina Tietze, Berlin: Gebr. Mann Verlag , 2013, 57-68 p.Chapter in book (Other academic)
    Abstract [en]

    Between the wars the Duchess of Windsor  (1895/6?-1986) was a quintessential female sartorial modernist. It was an image built on a type of obsessive discipline and iteration of gestures and actions in ‘appearing’ and also in managing a household – ‘she was always in control’, noted her friend Carol Petrie. Photographic and drawn representations of her by Man Ray, Cecil Beaton and Horst played a role in disseminating new silhouettes and profiles for modern women. Yet these images are frozen, and they drain the kinesic element of wearing garments for which she was notable. The Duchess of Windsor brought her clothes, which now hang as empty relics, into a range of animated performances, which can be reconstructed through film, photography and memoirs. The jewellery collection, the sale of which reinvigorated her fame after her death, constituted a type of endless writing over the body, being inscribed with private messages in the prince’s hand-writing by the jeweler-engravers. Their technical and aesthetic innovation lay in their ability to move, to be flexible and pliable, to mould to her clothes and her body. Her initials and quasi-royal cipher were embroidered onto both inner and outer clothing, and incorporated into the structure of her dwelling spaces. This paper will relate the modernity of the Duchess’ sartorial movement to more archaic and emblematic poses. Perhaps her appearance was so compelling because it linked her contemporary life to early-modern traditions of personal jokes and personal allegiances reiterated through the wearing of clothes, craft practices and gift exchange. 

  • 31.
    McNeil, Peter
    Stockholm University, Faculty of Humanities, Centre for Fashion Studies.
    Nordic Fashion Studies (with Louise Wallenberg, eds)2012Book (Other academic)
    Abstract [en]

    Fashion means much more than dress. There are fashions in all aspects of life, from the time and manner of taking meals to the ways in which people sit. Clothes are animated by bodies moving in space, through gesture and deportment, and attitudes towards work and leisure that have changed dramatically across culture and time. The dressed body occupies space in coded ways that are learned through socialisation and that are also subject to fashion. They occupy spaces that take on different functions and meanings. This anthology explores the multi-dimensions of fashion, from the market to the imagination. Fashion, a series of experts argue, is relational and weighty, yet still figures in the media and popular imagination as nebulous and opaque. This anthology seeks to overturn that popular view, introducing readers to new ways of conceptualising their interest and participation in fashion past and present.

  • 32.
    McNeil, Peter
    Stockholm University, Faculty of Humanities, Centre for Fashion Studies.
    Old empire and new global luxury: Fashioning global design2011In: Global Design History / [ed] Glenn Adamson, Giorgio Riello and Sarah Teasley, London and New York: Routledge , 2011, 138-149 p.Chapter in book (Refereed)
    Abstract [en]

    The essay explores the design process and cultural politics of Ausrralian fashion designers Easton Pearson, who work extensively in India. The debate regarding the west’s ‘invention’ of fashion is lengthy, complex and unresolved. It cannot simply be a matter of attaining luxury and novelty in dress, as the historically and culturally specific meanings of cyclical time have a role to play. Nonetheless, it becomes increasingly problematic to suggest that fashion can only emanate from several cardinal points, as today its very means of imagination and production are completely global. The work of Easton Pearson might also be seen as participating in this global shift in which international fashion trends became complicated by regional variation and agency.

     

  • 33.
    McNeil, Peter
    Stockholm University, Faculty of Humanities, Centre for Fashion Studies.
    Portable Decoration: Easton Pearson, history and traditions2009In: Easton Pearson / [ed] M Wallace, Brisbane: Easton Pearson, Queensland Art Gallery/Gallery of Modern Art, Brisbane , 2009, 1, 109-122 p.Chapter in book (Other academic)
  • 34.
    McNeil, Peter
    Stockholm University, Faculty of Humanities, Centre for Fashion Studies.
    Shoes: A History from Sandals to Sneakers2011Book (Other academic)
  • 35.
    McNeil, Peter
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    ‘Sparks Set in Gold’: A New History of Jewellery2013In: Art History, ISSN 0141-6790, E-ISSN 1467-8365, Vol. 36, no 4, 867-870 p.Article, book review (Other academic)
  • 36.
    McNeil, Peter
    Stockholm University, Faculty of Humanities, Centre for Fashion Studies.
    The Beauty of the Everyday2012In: Dressing Sydney: The Jewish Fashion Story / [ed] Roslyn Sugarman, Sydney: Sydney Jewish Museum , 2012, 91-147 p.Chapter in book (Other academic)
    Abstract [en]

    Dressing Sydney: the Jewish fashion story is a welcome addition to the developing field of Australian fashion scholarship. Based on written sources and over 150 hours of oral history interviews with 100 informants, it brings to light the impact of Jewish people on the post-1945 Australian garment and fashion industry. It consists of two essays written by curator Roslyn Sugarman and fashion scholar Peter McNeil and is generously illustrated with 87 images. These essays focus on the contribution of Sydney's immigrant Jewish community to the success of the rag trade from the 1930s to the 1980s. The book was published concurrently with an exhibition of the same name curated by Sugarman at the Sydney Jewish Museum from October 2012 to December 2013.

  • 37.
    McNeil, Peter
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    The Domestic Environment2013In: The Museum magazine, Issue three: Glorious Days: Australia 1913 / [ed] Michelle Hetherington, Canberra: National Museum of Australia , 2013, 121-133 p.Chapter in book (Other academic)
    Abstract [en]

    Domestic life is by definition ephemeral. Nonetheless, we can marshal much evidence from material culture, oral histories, living wage and housing commissions held before the War to create a snapshot of domestic lives in 1913. The choice and design of homes and their fit-out meant a great deal, financially and psychologically. Most of these homes were in cities: they contained more than one third (37%) of the population at this date. The loan schemes that enabled the purchase of homes in all Australian states by the 1920s have their roots in the Workers’ Housing Acts, for example that of Western Australia of 1913.[2] This was a dynamic period of social progress, marked by the professionalization of housecraft, cookery and mother-craft within the domestic science movement that emerged here and in the United States of America from the 1890s. New attitudes appeared at this time in Australian domestic architecture in terms of internal planning, the size of windows, the access to outdoors and the management of light. The possiblity of living in a flat was purposefully raised for the first time, and the role of worker’s housing came under increasing scrutiny.

    [1] Total population of Australia in 1911 was 4,492,000. Sydney’s population was 630,000; Melbourne 589,000; Brisbane 139,000; Adelaide 190,000; Perth 107,000; Hobart 39,000. W.D. Borrie, The European Peopling of Australasia. A Demographic History 1788-1988, Australian National University, Canberra, 1994, p.183.

    [2] In New South Wales, the Government Savings Bank advanced 75 per cent of the valuation in 1913. Working class suburbs such as Balmain and Newtown had only 25 per cent owner-occupiers compared with 75 per cent in a suburb such as Canterbury. Robin Walker, ‘Aspects of working-class life in industrial Sydney in 1913’, Labour History, v. 58, May 1990, p. 39.

    Accompanies an exhibition exploring Australia before the Great War (WW I).

  • 38.
    McNeil, Peter
    Stockholm University, Faculty of Humanities, Centre for Fashion Studies.
    The Duke of Windsor and the creation of the "soft look"'2012In: Ivy style: radical conformists / [ed] Patricia Mears [et al.], New Haven: Yale University Press , 2012, 44-61 p.Chapter in book (Other academic)
  • 39.
    McNeil, Peter
    Stockholm University, Faculty of Humanities, Centre for Fashion Studies.
    The Fashion History Reader: Global Perspectives2010 (ed. 1)Book (Other academic)
    Abstract [en]

    The Global History of Fashion Reader is an innovative work that provides a broad introduction to the complex literature in the fields of fashion, and dress and fashion history. It is a comprehensive resource for those who wish to further their engagement with fashion as a contemporary phenomenon. The book connects a diverse range of approaches and incorporates non-Western literature within better-known studies on Europe and North America. It identifies the history of fashion as a meeting point between the long-standing historical investigation of ‘dress’ and ‘costume’ and the more recent development of those sociological and anthropological-inspired studies that have come to be called ‘fashion theory’.

    Over thirty-five chapters cover a wide range of topics and approaches within the history of fashion, ranging from object-based studies to theory-driven analyses, mostly published by academics, curators and fashion specialists over the last two decades. The book is divided into nine parts, surveying some of the key themes in the history of fashion. Themes also move in and across time, providing a ‘disguised’ chronology to enable student learning:  parts 1-4  cover the four centuries from the 15th to the 18th century; parts 5-7 cover the 19th century to the contemporary (with particular attention given to extra-European countries) and part 8 provides a survey of the global setting and current globalised nature of fashion.

    Winner: Best Book Edited or Anthology, AAANZ, Art History Association of Australia and NZ:

    Citation: See http://aaanz.info/prizes/

     

  • 40.
    McNeil, Peter
    Stockholm University, Faculty of Humanities, Centre for Fashion Studies.
    The Prince of Wales2009In: Vestoj. The Journal of Sartorial Matters, ISSN 2000-4036, Vol. 1, no 1, 47-55 p.Article in journal (Other academic)
  • 41.
    McNeil, Peter
    University of Sydney.
    ‘The Stylemakers: Minimalism and Classic-Modernism 1915-45, Mo Amelia Teitelbaum. Philip Wilson Publishers, 20112013In: Journal of Design History, ISSN 0952-4649, E-ISSN 1741-7279, Vol. 26, no 2, 222-225 p.Article, book review (Other academic)
  • 42.
    McNeil, Peter
    Stockholm University, Faculty of Humanities, Centre for Fashion Studies.
    The Uses of History: Reflections on a HERA FEM workshop – Rokokomania – connecting the past and the present2012Other (Other academic)
  • 43.
    McNeil, Peter
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Thea Proctor: Towards a stylish Australia2013In: Sydney Moderns: Art for a New World / [ed] Daniel Thomas, Denise Mimmocchi, Deborah Edwards, Sydney, N.S.W: Art Gallery of New South Wales , 2013, 98-103 p.Chapter in book (Other academic)
  • 44.
    McNeil, Peter
    Stockholm University, Faculty of Humanities, Centre for Fashion Studies.
    Washing and Whiteness or the Art of Being Properly Dressed2009In: Persuasion: Fashion in the Age of Jane Austen / [ed] Roger Leong, Melbourne: National Gallery of Victoria , 2009, 1, 21-23 p.Chapter in book (Other academic)
  • 45.
    McNeil, Peter
    Stockholm University, Faculty of Humanities, Centre for Fashion Studies.
    What’s the Matter?: The Object in Australian Art History2011In: Journal of Art Historiography, ISSN 24752, no 4/June, 1-19 p.Article in journal (Refereed)
    Abstract [en]

    The place from which designs originate renders them distinctive and connected to the global and the local in specific ways. This paper outlines a series of historiographical issues that inflect the study of objects within Australian art history, firstly for the nineteenth century and then, more briefly, for the twentieth. In twentieth-century Australia, architects were prominent in analysing and popularising aspects of both the built environment and decorative arts which elsewhere might have been explored by art historians. Architects sometimes held academic posts that provided opportunities for research, they held strong views regarding urban planning and the built environment, and before the profession of heritage consultant arose, they were often required to research sites and take restoration decisions. This paper also considers the significant role of the collector and the rise of this activity from the 1920s to the 1970s, firstly by individuals, later by museums. The priorities of connoisseurship and a nostalgic evocation of colonial history dominated the inter-war period in Australia, resulting in a significant body of largely expository and romanticised writing. Such writing was nonetheless important in raising awareness, changing attitudes and tastes, and documenting survivals.

  • 46.
    McNeil, Peter
    et al.
    Stockholm University, Faculty of Humanities, Centre for Fashion Studies. University of Technology Sydney, Australia.
    Hawker, Rosemary
    Relational Craft and Design2012Collection (editor) (Refereed)
    Abstract [en]

    Issue 4, Relational Craft and Design is guest edited by Professor Peter McNeil (University of Technology Sydney) and Dr Rosemary Hawker (Griffith University). They summarise of the intent and content of Issue 4 as follows. “While definitions of craft and design are diverse, we can be sure that today they are embraced by the broader arts and humanities in a way they have not been since the 19th Century. This issue addresses a series of issues affecting the relationship between design and the crafts in a world that is often perceived as problematically ‘globalised’ and the same. What are the processes through which local producers, entrepreneurs and consumers, operating from both cosmopolitan and provincial sites, interact to create connections in this global context? A surprising number of papers with a strong historical focus came forward.” Six papers by Sally Gray, Juliette Peers, Jess Berry, Sera Waters, Sandra Loschke and Richard Read were selected for publication in this issue.

  • 47.
    McNeil, Peter
    et al.
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Miller, Sandra
    Fashion Writing and Criticism: History, Theory, Practice2014Book (Refereed)
    Abstract [en]

    "Fashion Writing and Criticism" provides students with the tools to critique fashion with skill and style. Explaining the history and theory of criticism, this innovative text demonstrates how the tradition of criticism has developed and how this knowledge can be applied to fashion, enabling students to acquire the methods and proper vocabulary to be active critics themselves. Integrating history and theory, this innovative book explains the development of fashion writing, the theoretical basis on which it sits, and how it might be improved and applied. Through concise snapshot case studies, top international scholars McNeil and Miller analyse fashion excerpts in relation to philosophical ideas and situate them within historical contexts. Case studies include contemporary examples of fashion writing, as well as Diana Vreeland at Harper's Bazaar and Richard Martin on Karl Lagerfeld. Accessibly written, "Fashion Writing and Criticism" enables readers to understand, assess and make value judgments about the fascinating and changeable field of fashion [publisher's abstract]

  • 48.
    McNeil, Peter
    et al.
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Riello, Giorgio
    Luxury: a Rich History2016Book (Refereed)
  • 49.
    McNeil, Peter
    et al.
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies. University of Technology Sydney, Australia.
    Riello, Giorgio
    ‘The Fashion Arts’: Jean Michel Frank, Elsa Schiaparelli and the Inter-war Aesthetic Project2013In: Fashion Cultures Revisited: Theories, Explorations and Analysis / [ed] Stella Bruzzi and Pamela C. Gibson, London: Routledge, 2013, 2, 217-233 p.Chapter in book (Refereed)
    Abstract [en]

    The relationship between art and fashion has a long and complicated history. Their commercial potential, their reliance on creativity and the mondaine lives of their protagonists, have made of art and fashion an established pairing at least since the rise of couture and impressionist art in 1860s France. The same can be said for fashion and design, though theirs is a more recent affair. In the early twentieth century the couturier Paul Poiret played with the idea of design, but it was only in the post-war period that the alliance between design and fashion became strong, in particular with the rise of prêt-à-porter, the made-in-Italy and American casualwear and lifestyles. The danger is of constructing histories in which fashion remains a distinct unit of analysis that only interacts with other realms of material creation as if fashion were separate from either art or design.

    This essay takes a different approach to the relationship and emphasises the imbrication of interior design and fashion. Elizabeth Wilson’s concept of the ‘fashion arts’ might be usefully employed here (Wilson 2004: 377). She argues that the interwar period saw designers’ practices widen and encompass a whole range of the visual arts. The ensemble, whether dress or room, was more than the sum of its parts, and several famous designers extended their interests across materials, genres and professional labels. Collaborations were common as was the creation of aesthetic projects through conversations between designers, couturiers and artists. We should consider here also the view of Rita Felski (2011: 231) that the ‘uncoupling of modernity’ from ‘aesthetic modernism’ permits an eclectic yet coherent range of approaches to emerge in the ‘cultures of femininity’ in modern fashion. That is, a more complex range of approaches to modernism might be possible than the architecture of Le Corbusier and the Purism of Amédée Ozenfant.

    Our focus is on an ‘improbable’ couple: the French interior designer Jean-Michel Frank and the Italian-born couturiere Elsa Schiaparelli.

  • 50.
    McNeil, Peter
    et al.
    Stockholm University, Faculty of Humanities, Centre for Fashion Studies. University of Technology, Sydney.
    Riello, Giorgio
    University of Warwick, UK.
    The Male Cinderella: Shoes, Genius and Fantasy2011In: Shoes: A History from Sandals to Sneakers / [ed] G Riello and P McNeil, London: Berg Publishers, 2011, 1:2, 386-409 p.Chapter in book (Other academic)
12 1 - 50 of 56
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