服装陈列形态设计的创新研究

服装陈列伴随服装产业的发展而不断向前,商家在服装销售的终端环节上越来越重视服装陈列技术,陈列水平不断提高。本文从服装陈列形态设计角度着手,深入研究服装陈列形态设计的表现方法以及创新途径,结合市场流行趋势,通过实例论证服装陈列形态设计的发展方向,通过形态设计的创新研究,力求给服装陈列行业提供新思维和新思想。     

Fashioning Michael Field: Michael Field and Late-Victorian Dress Culture

This article explores how the late-Victorian poets Katharine Bradley and Edith Cooper, who wrote under the collaborative pseudonym Michael Field, used fashionable dress to construct and advertise their unique poetic identity. Using evidence from their journal Works and Days, I contextualise Bradley and Cooper's clothing in terms of late-Victorian dress culture, and the major dress reform movements of the nineteenth century. I demonstrate that Bradley and Cooper used fashion as a distinctively feminine way of participating in aesthetic culture, marking significant life events, and to advertise their poetic identity. This self-fashioning also exposed them to aesthetic scrutiny from their peers Oscar Wilde and Bernard Berenson. Finally, I argue that fashion played a crucial role in Bradley and Cooper's desire for one another – and that this desire can be understood in terms of erotic reciprocity.     

The Queen as ‘social mannequin’. Consumerism and expenditure at the Court of Isabeau of Bavaria, 1393–1422

Unjustifiably, but often, dismissed as the driest of sources, medieval accounts can be a mine of historical and social information, and those of Isabeau of Bavaria, queen of Charles VI of France, are particularly fascinating. One of the many consequences of the king's lifelong mental instability was the development of an entirely separate financial administration for his wife and children, and this combination of radical innovation and unprecedented levels of expenditure has meant that scrutiny of Isabeau's accounts — the best preserved and most extensive of any medieval queen of France — has been considered fundamental in almost all biographical works. Although this paper looks at what could be regarded as a frivolous topic in Isabeau's wardrobe, the social concept of the royal lady as decorative fashion-plate has been particularly pertinent in recent years, but also has a long-standing pedigree. The necessity and public display of wealth were always an intrinsic element of medieval queenship, and a number of these wider themes will be explored alongside detailed analysis of two example accounts.     

The role of the sartoria in post-war Italy

This article aims to build on established scholarship by highlighting a little-studied area of fashion production, that of the regional Italian dressmaker. Using one woman's wardrobe as a lens through which to consider established patterns of consumption, this article examines the role of the sartoria or dressmaker in post-war Italy. After a brief discussion of the reputation and dynamics of the related but more exclusive Italian couture, the author defines the characteristics of clothing produced by Italy's regional, small-scale dressmakers and their importance within Italy's fashion system. The author draws conclusions based upon close examination of one woman's wardrobe, created by the Turin workshop Sartoria Grimaldi and now housed in the Victoria and Albert Museum's permanent collection. A selection of this wardrobe was researched and exhibited for the first time in 2014 within the Museum's major exhibition ‘The Glamour of Italian Fashion 1945–2014’.     

西汉《楚辞》传播接受的途径与方式

西汉《楚辞》传播接受活动自高帝始至武帝极盛,后期在宣帝喜好以及扬雄、刘向等赋家的努力下,仍不绝如缕,持续于有汉一朝。其传播接受活动主要有两条途径：一是统治集团好尚,宫廷倡导;二是文人雅好,师法屈骚。通过这两条主要途径,《楚辞》传播与接受的主要方式大略有三种：一是诵读、讲解（口头传播）;二是绍骚、拟作（文字传播）;三是辑作、评论（文字传播）。     

Italian fashion: yesterday,today and tomorrow

The article considers Gianna Manzini's ‘La moda e una cosa seria’ (La Donna, 1935, July, 36–37) as a forerunner of current scholarly approaches to fashion in general and Italian fashion in particular, for three reasons. First, it asserts the importance of a gendered history of fashion; second, it argues for the importance of boundaries and lines of demarcation in the study of fashion that do not pertain solely to time but also to fields, disciplines and the other arts, as well as social and political domains; third, it raises the question of the relationship between fashion and nation. In examining how and when to establish the beginning or the origin of Italian fashion, the article argues for a long history of Italian fashion that stretches as far back as early modernity, thus reframing a number of historiographical questions. The article goes on to signal the difficulty involved in establishing neat points of ruptures and origins, and continuities in any historical or cultural spectrum in view of the porosity of national boundaries; and makes the case for considering fashion, both today's and that of yesteryear, in both its national and transnational dimensions.