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

10670/2.7mwf6s

Organization

OpenEdition

Discipline

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

Type

Blog posts (35)

Authors

Date

35 documents
"A" for Appearance: The Culture of Clothing. “The Art of Tailoring”
Corinne Thepaut-Cabasset (Jun 20, 2016)
"R" for Refashioning Fashion Plates in Early Modern Europe. Pascale Cugy & Corinne Thépaut-Cabasset
Corinne Thepaut-Cabasset (Oct 27, 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)
“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)
“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)
“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” 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 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)
"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)
“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)
"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 (Jun 22, 2016)
“D” for Damask: "The Night Watch of the costume world.” Claude Fauque, Textile and Dress historian
Corinne Thepaut-Cabasset (Jun 23, 2016)
"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)
"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)
"S" for Stockings for children. Charlotte Rimstad, Ph. D. Student, Centre for Textile Research, University of Copenhagen
Corinne Thepaut-Cabasset (Aug 16, 2016)

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