Dressing the new world

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Description
  • What effect did the successful marketing of European products have on the New World at the beginning of the 18th century? And how should one go about studying the European fashion and textiles that transformed the way people dressed in the Spanish colonies?
Identifiant

10670/2.7mwf6s

Discipline

Histoire (12) Art et histoire de l'art (6) Sociologie (1) Gestion et management (1) Archéologie et Préhistoire (1)

Type de document

Billets de blog (33)

Auteurs

Date

33 résultats
The Trade in the New Spanish Colonies (1600-1800)
Corinne Thepaut-Cabasset (30 mars 2016)
"A" for Appearance: The Culture of Clothing. “The Art of Tailoring”
Corinne Thepaut-Cabasset (20 juin 2016)
“W” for Wool: War and Worsteds / Words and Things. Exploring the market for woollen textiles in early-modern Spanish America. John Styles, Research Professor in History, University of Hertfordshire, UK
Corinne Thepaut-Cabasset (6 sept. 2016)
“S” for Stockings: Made in Europe – but where? Edwina Ehrman, Curator of Textiles and Fashion, Victoria and Albert Museum, London
Corinne Thepaut-Cabasset (8 juil. 2016)
"F" for Fan: Fashionable fans. PhD Georgina Letourmy-Bordier, Fan Expert
Corinne Thepaut-Cabasset (4 juil. 2016)
“F” for Feather: Pre Hispanic Feather Textiles from Peru, Lena Bjerregaard, Centre for Textile Research, SAXO Institute, University of Copenhagen (Denmark)
Corinne Thepaut-Cabasset (20 juil. 2017)
“T” is for Cumbi Tapestries: Peruvian Textiles in the Spanish Colonial Home. Julia McHugh, Douglass Foundation Fellow in American Art, The Metropolitan Museum of Art, New York
Corinne Thepaut-Cabasset (20 déc. 2017)
"S" for Stockings for children. Charlotte Rimstad, Ph. D. Student, Centre for Textile Research, University of Copenhagen
Corinne Thepaut-Cabasset (16 août 2016)
“I” is for Identity: Clothing and Identity at the Presidio de San Francisco in the New Spanish World. Candice Ward, MA Student, California State University
Corinne Thepaut-Cabasset (28 févr. 2018)
“L” IS FOR LYON. THE MARKETING AMBITIONS OF EIGHTEENTH-CENTURY FRENCH MERCHANT MANUFACTURERS, OR WHERE DID ALL THE LYONNAIS SILKS GO? LESLEY MILLER, SENIOR CURATOR OF TEXTILES, VICTORIA AND ALBERT MUSEUM, LONDON/PROFESSOR OF DRESS AND TEXTILE HISTORY, UNIVERSITY OF GLASGOW
Corinne Thepaut-Cabasset (31 déc. 2016)
“P” for Pattern Book: Norwich Textiles exported to Central and South America in 1763.
Corinne Thepaut-Cabasset (13 août 2017)
"L" for Lace: Thinking about Lace. Michael Yonan, Associate Professor of Eighteenth and Nineteenth Century Art, Director of Graduate Studies, University of Missouri
Corinne Thepaut-Cabasset (22 juin 2016)
“L” for Lace: The variation of Taxation Schemes for Lace Import in the Ancien Regime. Marguerite Coppens, Honorary Curator Musées royaux d’Art et d’Histoire, Brussels. Honorary Chair of the French Association of Textiles Studies (AFET), Paris
Corinne Thepaut-Cabasset (16 févr. 2017)
“H” for Headdress: The Gandaya, a colourful silk knitted bonnet in Global-Spain. Victoria de Lorenzo, MA alumni at the Royal College of Art/Victoria and Albert Museum, London
Corinne Thepaut-Cabasset (4 nov. 2016)
“N” for New Habits: New Goods from the New World. Nadia Fernández de Pinedo, Associate Professor at the Department of Economic Studies, Universidad Autonóma, Madrid
Corinne Thepaut-Cabasset (15 mai 2017)

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