Dressing the new world

Collection description

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?

Identifier

Organization

Discipline

History (12) Art and art history (6) Sociology (1) Management (1) Archaeology and Prehistory (1)

Type

Blog posts (35)

Authors

Corinne Thépaut-Cabasset

Date

35 documents

F is for (pineapple) Fibre. Teresa Nobre de Carvalho, Researcher, Center for the Humanities Universidade Nova de Lisboa (Portugal)

Corinne Thepaut-Cabasset (Mar 15, 2019)

“W” is for Wig by Vivi Lena Andersen, Ph.D., Museum Curator at the Museum of Copenhagen, Denmark

Corinne Thepaut-Cabasset (Feb 28, 2019)

"M" is for Mantón de Manila: Spanish shawls of Asian origin and cross-cultural design influences. Laura Beltran-Rubio, MA Fashion Studies, Parsons School of Design, New York City (USA)

Corinne Thepaut-Cabasset (Jul 6, 2018)

“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 (Feb 28, 2018)

“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 (Dec 20, 2017)

“F” for fans made of feathered-flowers, birds and insects. Exoticism and frivolity in the consumption of fashionable objects traded between the New World and the Old World. Maria Cristina Volpi, Associate Professor School of Fine Arts, University of Rio de Janeiro (Brazil)

Corinne Thepaut-Cabasset (Nov 21, 2017)

"B" for Bordados: An Exhibition of Embroidered Textiles from Mexico. Rebecca Devaney, MFA Textile Art and Artefact, National College of Art and Design, Dublin. Student in Haute-Couture Embroidery, Ecole Lesage, Paris.

Corinne Thepaut-Cabasset (Sep 21, 2017)

“P” for Pattern Book: Norwich Textiles exported to Central and South America in 1763.

Corinne Thepaut-Cabasset (Aug 13, 2017)

“F” for Feathers: Symbols of European Rulers in the Renaissance. Les plumes : symboles des rois de la Renaissance. Chloé Nevicato, MA in History and Anthropology, University of Paris Panthéon-Sorbonne.

Corinne Thepaut-Cabasset (Jul 30, 2017)

“F” for Feather: Pre Hispanic Feather Textiles from Peru, Lena Bjerregaard, Centre for Textile Research, SAXO Institute, University of Copenhagen (Denmark)

Corinne Thepaut-Cabasset (Jul 20, 2017)

“F” for Spanish Fashion: Fashion in Las Meninas by Velázquez in 17th century Spain. Amalia Descalzo Lorenzo, Professor of Culture and Fashion at ISEM Fashion Business School, Universidad de Navarra, Madrid

Corinne Thepaut-Cabasset (Jun 23, 2017)

"T" for Trade: 18th century Handkerchiefs – The Swedish East India Company Trade. Viveka Hansen, Textile Historian, The IK Foundation, (UK)

Corinne Thepaut-Cabasset (May 21, 2017)

“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 (May 15, 2017)

“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 (Feb 16, 2017)

“S” for Shoes: A gendered shoe from 17th century-Copenhagen. Vivi Lena Andersen, Curator and Archaeologist at the Museum of Copenhagen, Denmark

Corinne Thepaut-Cabasset (Jan 22, 2017)

"R" for Recycling Brocaded Silk, from Profane to Sacred. Bernard Berthod, Dr ès Lettres, Curator Musée de Fourvière (Lyon), Vice-Chair of ICOM-Costume Committee

Corinne Thepaut-Cabasset (Jan 16, 2017)

“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 (Dec 31, 2016)

"T" for Traditional Mexican Woman Dress called: Huipil. Lena Bjerregaard, Conservator, Guest Researcher, Centre for Textile Research/SAXO Institute, University of Copenhagen

Corinne Thepaut-Cabasset (Dec 20, 2016)

“M” for MANTA. Lena Bjerregaard, Conservator, Guest Researcher, Centre for Textile Research/SAXO Institute, University of Copenhagen

Corinne Thepaut-Cabasset (Dec 1, 2016)

“Y” for Yellow Moiré silk Dress. Laura G. García-Vedrenne, M Phil student in Textile Conservation, Centre for Textile Conservation, University of Glasgow

Corinne Thepaut-Cabasset (Nov 21, 2016)

“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 (Nov 4, 2016)

"R" for Refashioning Fashion Plates in Early Modern Europe. Pascale Cugy & Corinne Thépaut-Cabasset

Corinne Thepaut-Cabasset (Oct 27, 2016)

“N” for Night Gown: The Informal Gown of a Lady Wear. A customized fashion plate circa 1700: Dame de la Cour en « déshabillé négligé ». Pascale Cugy, Docteur in History of Art, University of Paris-Sorbonne

Corinne Thepaut-Cabasset (Oct 18, 2016)

“E” for Embroidery: Mission Style in Alta California. Mariachiara Gasparini, Adjunct Lecturer, Art & Art History department, Santa Clara University, California

Corinne Thepaut-Cabasset (Sep 21, 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 (Sep 6, 2016)