By Zara Kesterton (@ZaraKesterton)
In recent years, it has become fashionable to talk of an ‘archival turn’ in history, in which the site of record-keeping has itself come under scrutiny. At the same time, material history has risen to prominence as an intriguing counterpart or companion to the paper-trail left by written documents. As someone who became fluent in the visual language of a museum long before I encountered academic history, I like to think of a fashion gallery as something that can be ‘read’ in similar ways to an archive, combining the perspectives of both historiographies.
By Georgia Oman
While academic dress has been around for a long time, it is only more recently that the wearing of it in Britain has been permissible for more than a small but powerful elite. Until the 1830s, there were only two universities in England, Oxford and Cambridge, and academic dress was a part of their students’ daily lives. Indeed, until 1965, undergraduates at Cambridge had to wear gowns when going to lectures, supervisions, or into town after dusk. As Paul Deslandes notes, academic dress was about more than just wearing a fancy gown – it was a visible symbol of student identity, as well as university privilege, insider status, and masculinity.
By Matilda Embling
Women and fashion are often explicitly linked. One only has to consider the media coverage of the new Duchess of Sussex to uncover how frequently a woman’s identity is equated to, or even entirely subsumed by, the clothing she wears. In a recent Guardian article , the more conservative muted wardrobe she has opted for after her marriage was equated to the muting down of her opinionated, questioning personality.
This rhetoric is not new and has not been limited to public figures. In the letters of eighteenth-century women for example, descriptions of new female acquaintances are almost always accompanied by long reports of their dress. An East Anglian gentlewoman, Barbara Ward described a relative’s fiancé as ‘genteel and agreeable’ before immediately documenting her dress ‘the best cloths she has apeard in last sonday at church was blue and gold rich silk and black laced hood’.[i]
By Carys Brown @HistoryCarys
Attempts to shape the female form are nothing new, as current exhibitions at the V&A and York Castle Museum show. Neither is the particular concern with the posterior, demonstrated today by an increased demand for buttock implants. Such permanent “improvements” are beyond the financial reach of most people. The less wealthy (or less confident that the fashion will be a lasting one) can employ rear-enhancing items of clothing such as the Booty Pop to supplement their behinds. Modern fashion and lifestyle magazines give ample guidance to those who want a large behind with a small price tag. But what did women in the past do, and what might paying attention to these fashions suggest about our modern obsessions? Read more