Bathurst Tour - Near Sydney: A Self-guided Pictorial Sightseeing Tour (Visual Travel Tours Book 175)
She enjoys writing short fiction, plays for radio and stage as well as her own brand of weird poetry. The Wyndham Writing Awards previously Words of Wyndham returns in to inspire, encourage and recognise emerging Victorian adult writers and literary creators. Prizes will be awarded for unpublished works in four categories: short story, graphic short story, flash story and poetry. Shortlisted entries will be published in the Wyndham Writing Awards Anthology Entries open Wednesday 1 May — Sunday 30 June The weekly program features the stories from recently published issues, usually narrated by the authors themselves.
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Lammcy s Boatshed, Gladesyllje Bridge. Miss Baxter. Saturday morning. See run. Chapman engine, dinghy: JJ Gaff. Ferro engine. Many engines are seriously overrated in their power output, even though their bore and stroke being disclosed. Many hefty auxiliary cruisers in various ports derive their amazing speed through the agency of these powerful motors, often punch- ing these boats through heavy seas and head winds.
At this spot Mr. A stiff Nor' castcr was blowing against a big southerly roll, and not another vessel In sight. Evans lost no time In summing up the situation, and got a line aboard the Cruiser. The Job was completed in a little over two hours. When off Cape Bowling Green the PUP encountered a heavy sea, but pushed through In defiance of mighty waves that appeared to be sufficient to pass right over her and toss her upside down, Her com- mander, In the meantime, sitting back In grim determination to get to Townsville, held the PUP on her course, and reached Townsville safely on Wednesday afternoon.
Captoln Pankhurst was ac- corded a most enthusiastic reception by a large crowd of people who had been anxiously awaiting lils arrival. Amongst those first to grip his hand were a number of excited PUP engine owners, who welcomed him as an old friend. This vessel is In perfect condition and'for immediate delivery, and Is on view at our yard from Monday next. First class Moorings, a perfect bay, and service with a smile.
Rushcutter JJay. J- Sheathed with gauge Flat Iron. Maple, Kauri, etc. Poison's mailne engine. Phone, 9. Hull and Engine splendid. Wheat, Newport. Beach-rd, Bondi, Saturday or Sunday morning. Slipping Rcpalis, oil types, built to order, reason ablc prices. Edward-st, East Balmain. Must be flrst J class condition. Speed up to 25 miles.
Seen running. Universal engine, spare Magneto, excellent condltton, Dinghy, can sleep aboard. Car to Inspect. Bobbin Head. MW; after hours,. Ring Gos ford Richardson, Box 4. Good condition. Sails well. Can be seen running. Sails, and Gear,. Camp bell's Shed. Rose Bay; or FM Chris Craft type, many. Endeavour Boatsheds. Endea vour-street. Sans Souci. MEW 14ft Launch. Whiteheads Bnatshed. Rushcutter Bay. Callie Twin excellent condition, fast. Particulars to. Mona Vale. Whliehead's Boatshed. Lclchhardt-st, Glebe S- ale 20ft Half-cabin, marine engine.
Bridge Deck Cruiser, 35ft, every. Our new pogc Illustrated Marine Catalogue Is full of interest; may we post you a copy? Call, or 'phone LW for demonstration. Marine Engines, 6-h. Petrol Tanks, Water Tanks, etc. Save Money and buy direct. New condition, strong and excellent construction. Chrome-plated fltttngs. Seat 9 persons and has speeds to 25 m.
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Particulars, Tele-, FL Holmes built. Sft boam. V bot L tom. Apply Mrs. Immediate delivery;. Connells Point Hurstville. Newsagcncy, Cor?? Full particulars to No. Fox, 10 New Jerscy-rd. Full particulars, price, to Licence 3. Highway 4 days , Inclusive Fare..
Licence No. Has good knowledge North Coast. Cars de- livered anywhere. Barrington's, Kensington. Bathurst, etc. Stuckeys Tours. Licence Sundav-i iJ and Holidays exceptcd. Bondi Junction. Jj Stevenson's Sedans. Departs Moss'Vale 9 a. IF your' voice Is weak. IF you speak carelessly and lack Confidence. Grace Stafford, Paling's Buildings.
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Interviews dally, 12 noon-2 p. Ladles' Orchestra Thursdays. B; or call Madame Parsonage, George-street, opposite Paling's. Fees and particulars. Pupils hold these titles: , N. Carioca, Australian N. Section , N. Interstate, 3rd N.
Palais Royal, 2nd and 3rd Australian N. Leam Varia- tions. Classes To-day, 2. MA and PET. Private Lessons Daily, from 10 a. Full Staff Instructors. Private Tuition dally, classes, Tuesday and Frl day. American Rhythm. Tap, by Eddie Lawson. Principals, Ron Doyle and Elsie Balley. Jazz, Old-time, latest. Tele,, L Sydneys Exclusive. Academy, teaches Ballet. Tap, Ballroom Classes, private. Strand Arcade. Annual Night Tournament. Doubles only, all grades, commencing on October fi. Particulars ring courts, rx2B Courts available day or night play.
Players I wanted. Hollywood court, Beach-read. Dulwich Hill. Singles practice X given. Becdham's Courts. Woouohrn FW Burrawong, 31 Jaincs-sl, Enmor. Apply J.
Instruction and - practice week-ends, would like hear from qunllfli-ri Instructor. Robcrts's Physical Culture School. Dymock s Building. Season Opens Sunday, 20th September. Rehearsing Eastern Suburbs weekly. Free Tuition, no fees. Screen Tests now being carried out. Direction R. Entries Invited. Apply 2KY Broadcasting Station.
State sal-. Box Plans at Paling's till Balcony Sales at Hilliers next Theatre till 8 p. Prices: Week Nights. Twice Dally. Direct from New York. All plus tax. Plan Paling's, Nicholson's. Theatre MA Plans: Nicholson's, George-street and Hotel Australia. After 5 p. For concessions to parties inquire B There is good parking space In Wentworth-avcnue, Liverpool and College streets. Come yc seekers of daring, thrilling adventure murder mysteries, and get on the year's greatest. Who Killed Cock Robin? Presented witt.
A gay rainbow of love and laughter. A Plckford-Laskv production released by United Artists. Tor adults only. Presented with Columbia's thrllllni. Plans at Theatre. MA, or Paling's. Sessions: 11, 2, 5, 8. Latest Fox Neus. Take advantage of seeing Sydney's Q,c"at est Show at specially reduced prices.
Sessions, 11, 2, 5, 8. Wired for thrills, alive with laughs, and super-charged with sizzling excitement and romance Fox International and Australian News Reels. First Session commences at Stale's Location: Market-street, between Pitt and George streets. Hamilton Webber and State Symphony. Next State Theatre. Chlldrca Ed. No Reserves. No Free List. Plans at Theatre Castlcreagh-strcet, opposite David Jones'. M , and State Booking Burwi. You will thank us for this warning: If you cannot book for a di i and ovoid the evening crush. Plans at State Bureau and Lycc. First Session starts 11 a.
Others at 2 p. Both plcturn. Capitol Location: Brlghtway, Haymarket. Full Shows Dally at 10 a. Children Od to all parts. Both features arc M. Last Days will soon be announced of M. M for Reserve. From the book which caused a sensation. Come, sit In on the most amazing scene ever known. A beautiful woman charzed with murder. Children 6d to all parts day session. Screening times: 11, 2, 5, 8. Exhibition closes September Admission 6d. Call for Free Demonstration, which will not place you under any obligation. Fees are within the rcoch of all.
Lessons given daytime or evening. Knock-out Quick-step Competition. To come along and see the daziling magnificent emblems of England's Royalty. P, ,t the Tower of London itself. In the grandest exhlbl'lon In the Southern Hemisphere, ak. South-eastern Pylon of the Sydney Harbour Bridge ,. Ali prices plus tar. Eileen Boyd, Contralto. George L Alcliln, Hon. In Popular English Airs of the 18th and 19lh Centuries.
Edith Unser, in old ballads of the sea. The English Folk-Dance Club. Edith Sterling Levis. Box Plana open at Nicholson's and Paling's on Monday. All prices plus tax. Prince Edward : 7. Licorice ; 7. Special Trains will leave Central Railway Station as under: f Combined rall and admission tickets for Paddock and St. Pilions aie advised that Buses for Enfield, Campsie, and Concord West depart from the cor wr of Brldge-ioad and Ross-3licet, after the conclusion of metung. Come to Taronga to-day or to-morrow and sec your own Zoo at its best. Monkey Circus 2. Combined Ferry and Zoo tickets at No.
Frequent service. Watorbuses, sunday, half-hourly, 9 a. Fcrcs 4d, Children Id each way. Take Nielsen Park Ferry. To-day, Ferries leave hourly at half-past tho hour, from No. Full par-. Artists: Mr. Charles Lawrence, Leader; Mr. Carlton Fay,. Vernon Sellars, Leader; Mr. Leo Trinette. Tenor; Mr. George Brown.
Pat Flanagan, Pianist. Reservations 6d extra. Circular Quay. Trophy Events open to. Dated this eleventh day of Septem- ber Dated tim fourteenth day of September Dated this fourteenth day of September, Managing Director. By his Agents, Messrs. And Notice is hereby given that all cre ditors or other persons having any debts or claims. All creditors In the Estate of the sold deceased are hereby required to send in particulars of their claims to the undersigned within the aforesaid period of fourteen days. Par- ramatta. Dated thus fourteenth day of Septem?
Dated this 16th day of September U Martin-place. Dated this fifteenth dav of September. Proctors for the Execu- tor. Dated this eighteenth day of September A. All creditors and other persons having any claims against the Estate of the sold deceased are re- quired to send in particulars thereat to the under- signed within the said period of fourteen days.
Credi- tors and all other persons having any claim or claims against the Estate of the said deceased are requested to send In full particulars thereof to the undersigned within fourteen days from the date of the publication hereof at the undermen- tioned address where all notices mav be served.
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In , Brisbane-based fashion designers Pam Easton and Lydia Pearson began to create from an Australian provincial city their range of garments that were deliberately nostalgic and feminine, with an air of knowing retrospection generated through an engagement with historical and ethnographic sources. At first they were not widely known, their market was completely local, and sometimes they were misunderstood. An engagement with ethnographic sources by contemporary designers is not uncommon, sometimes amounting to a type of scavenging activity, perhaps Baudelairian 'rag-picking' to be more poetic and polite.
Within Easton Pearson's design imagination, traditional designs are not simply copied, but rather amended, to create new allusions and aesthetics. In going to the 'source' of ethnic textiles and re-commissioning in India fabrics that had not been produced in some cases for decades, their practice raises questions about authenticity, intervention and revival.
The semiotic power of clothing, that is to say its capacity to convey messages that go beyond the very materiality of the fabric of which it is made, is a complex subject as it entails the idea that people use material things to create their own personalities and interact with other people. The picture gets even more complicated when you think that is is improbable, although not statistically impossible, to meet someone who is dressed exactly like yourself. The nineteenth century was a period of vast transformations and possibilities in terms of a fashion-scape for men and women, from the provincial worker to the patrician industrialist.
Yet much of the century's fashion is poorly understood and remains little researched. Enormous changes of style and silhouette swept through the female wardrobe, with most scholarly attention being focused upon those transformations of the second half of the century. This is probably a result of the power of art history in designating impressionist painting practice as central to its scholarship in the past forty years, as well as the attention paid to the greatness of the prose, poetry and journalism of writers such as Baudelaire, the Realists such as Zola and the Symbolists such as Huysmans.
When we write about the recent decades -- and indeed much of the twentieth century - scholars do not 'reconstruct a past that they can never know' as observed by Fritz Stern in his Varieties of History , Depending on our age, we either remember or were a part of the Grunge style of the , the New Romantics of the , the Punks of the s, the boutiques of the s, the prohibitions of post-war rationing, or through our parents', grandparents', aunts' and uncles' memories, tales of short pongee silk dresses imported from China in the s and the shock of seeing men walk around for the first time without neckties and hats, Of course our memories and recollections are also partial and influenced by our relationship to society, Our closeness and our personal relationships to dress in the recent past colour our interests and inflect our positions; sometimes it leads to books being written and preconceptions being challenged.
It is impossible to remain neutral, detached and uninvolved: the fashion history of the recent past has, more than any previous fashion and perhaps more than most other types of histories, collective memories and personal stories, a strong 'presence in the present'.
Challenging the notion that fashion and furniture were or are separate enterprises and distinct material aesthetic traditions, this collection focuses on three material and conceptual links central to understanding the relationship between interior design and fashion-the body, fabric, and space. The volume considers the changing visual, material and spatial character, methodological challenges posed by, and formal, political and historiographical significance of, a wide range of British, European and North American case studies since the eighteenth century.
The volume's eleven case studies allow the reader to understand connecting notions behind the formation of interiors and fashionable clothing. The essays combine a wide range of significant and challenging new examples alongside powerful reversionary analyses of the various periods, artists, designers, and their best and significant objects. Fashion, Interior Design and the Contours of Modern Identity is concerned not only with fabric, but also with the body and the implications of embodiment in the practices of both design domains which are equally invested in the comfort, aesthetic pleasure, extension and support of the body in different and yet seemingly identical ways.
Storia e Storie , Bruno Mondadori, Milan, pp. Historiographic essay concerning the cultural meaning of the fashion caricature, translated from the English. When an object or motif is universal, there is a tendency to trivialize it. Clnthing is both a material covering and an enclosure for the body that in West Europe is generally constructed through draping or cutting cloth or through weaving or knitting it to shape. Artists arc viewed as the ideal collaborators with fashion designers and the fashion industry, injecting the type of cultural capital they embody into products that have become synonymous with innovation and novelty.
Scholars have paid a great deal of attention to the changing role and nature of fashion, both conceptually and practically. They have underlined how present-day societies find thei,. Today few individuals would deny the powerful role of fashion in everyday life. The media presents us with an array of images from the real to the fantastic.
Large multinational corporations and powerful fashion houses shape the discourse of fashion, influence public opinion and sct in place global productive and distributive structures. Fashion is thus a specific vision of change that is shaped by practices, economic systems and actors. Fashion is also heavily contested, opposed and criticised. It retains in the public mind strong connections with vanity, frivolity, waste and folly. It can be conveniently blamed for everything from psychological illness, the ratings of Miss World, nastiness on Project Runway and the death of baby animals.
The infiuential scholar Daniel Roche wrote of seventeenth-century clothing that it 'was at the centre of debates about wealth and poverty, excess and necessity, superfluity and sufficiency, luxury and adequacy' Roche 5. Fashion also mattered a great deal to the cultural mind-set of early modern society as its meanings contained a paradoxical ftip-side. So clothes and grooming were described in conduct books and instruction manuals as something that had to be carefully managed depending on social needs and settings.
Many of these detailed directives were written for young men, the most famous of the texts being Castiglione's The Book of the Courtier, whose form came from a classical model by Cicero and which was widely copied and modified for the following three centuries, forming the basis of the 'etiquette' manual. This was not the case just a generation ago. Research tended to concentrate either on the court and elite dress of the period ranging from the Renaissance to the reign of Louis XIV characterised by conspicuous consumption and the emergence of a 'civilised' society of mannerS and etiquette or on the bourgeois ascendancy of the nineteenth and twentieth centuries accompanied instead by mass production and largescale distribution as in the case of department and chain stores.
The history of queer dress in Australia resides in unpublished theses, memoirs, diaries, photographs, and the tn. Changing understandings of sexual practice, fro situational, private, and criminalized, to open, liberationist, and commodified, have impacted upon queer dress codes, clothing styles, and bodily appearance.
There are fashions not just in dress but in all aspectsf life, from the time and manner of taking meals to the ways in which people sit. Clothes arc animated by bodies moving in space, through gesture and deportment, and attitudes toward work and leisure that have changed dramatically across cultures and time. The dressed body occupies space in coded ways that are leamed through socialization and that are also subject to fashion and cultural convention.
Fashion, in the age before the mechanical reproduction of objects and images, could only be limited in its reach. Scholars over the last century have discussed, and mostly disagl'eed, on the extent to which fashion inftuenced the lives of billions of people across the globe. This Reader suggests that fashion, however one might define it, is a phenomenon that goes back in time at least to the Middle Ages, if not earlier, and had substantial importance not just for the rich and famous living in the period before the nineteenth century monarchs, the court, and rich merchants but also for the 'common people'.
As nevI' and cheaper lIxms of graphic reproduction, and more Jiterate audiences [oJ' periodicals and prints arose in eighteenth-century Western Europe, there was a marked increase in the output of' satirical printmaking from the in France, Germany and the Dutch Republic, but notably in England, England'5 freedom of the press and involvement of the public in political and cultural affairs through coffee house, print and exhibition culture encouraged the production of thousands of satirical broadsheets and individually printed caricatures. Fashion had two principal functions in these prints.
In the first half of the century the English political print included dress to inclicatc class, party-political, geographiC, ethnic and national identity. In tandem with theatrical precedents, the shorthand device for a Frenchman was elaborate court-dress and a simpering posture, for a Spaniard a ruff, and a Dutchman round breeches. This paper is the product of collaborative research with an economic historian Riello. The German translation was a major revision with additional words of new findings related to 18th-centry urban geographies and discourses of health. Exploring a New Identity.
A touring exhibition , Swedish Institute, Stockholm, pp. Substantial new contribution to the relationship of fashion and the caricature print. Encylopedia is described by the editor as 'the product of a new, multidisciplinary field of inquiry and an extraordinary international collaboration' Preface, xv. In the eighteenth century clothing introduced and worn at court ceased to be the dominant fashion. The strict codification of dress backed by sumptuary laws asserting an unchanging social structure was undone by philosophical, scientific, political and economic change.
Rising incomes, the spread of literacy and print culture, the introduction of new cottons and cheaper techniques of production and printing meant that more types and numbers of garments and fabrics entered the wardrobes of the bourgeoisie, as well as artisans, tenant farmers, mechanics and the servant class. Fashion choice accelerated within a market economy, in which choices about commodities became markers of distinction and mobility. Fashion also functioned as a potent symbol for the types of social and economic change which modern capitalism enabled, standing in for values ranging from transformation to deception, which were explored within Enlightenment philosophical tracts and popularizing accounts.
Significant international collaboration in a new field, an encyclopedia 'identifying the world's preeminent authorities' and asking new questions 'that define the field' preface xv. This scholarly publication carried the premise of historiographical investigation, not reiteration of fact.
In , Brisbane-based fashion designers Parn Easton and Lydia Pearson beg;' 1 to create from an Australian provincial city their range of garments that were deliberately nostalgic and feminine, with an air of knowing retrospection generated through an engage mcnt with a range of historical and ethnographic sources. An engage ment with ethnographic sources by contemporary designers is not uncommon, sometimes amounting to a type of scavenging activity, perhaps Baudelairian 'rag-picking' to be more poetic and polite. Layout Galerie Ruf. Julia Gautier, Switzerland. Privately ptinted in colour.
Galerie Ruf est. Kamer-Ruf are leading expert collectors for European costumes and textiles worldwide. Ruffs are one of the most emblematic features of 17th-century Dutch dress. They originated in the 16th century — an evolution from small frilled collars to an independent accessory that could be wider than the wearer's shoulders. They are also notable for being worn by both men and women as well as children. The ruff consisted of starched linen which was shaped in a frame and folded in elaborate patterns, at times reminiscent of the complexity of Japanese origami.
The ruff was seen as a Dutch-derived fashion and the starch that created it also a Dutch invention. The introduction of ruffs into English fashion in the 16th century led them to be compared by a moralist to 'discloths' that fell upon the shoulders of a 'slut'. They were expensive and also conspicuous. Elizabeth I of England popularised enormous wired ruffs that rose above her face, indicating to us how the ruff always extends the borders of the body.
Although the 16th century saw the height of the ruff's popularity in England and Spain, it persisted as a fashion accessory well into the 17th century in its heartland, the Dutch Republic. In the famous examples we see in the exhibition, the white ruff provided the perfect contrast to the glossy black silks and expensive dyed woollen broadcloth favoured by that country's burgers and merchant class. As historian Simon Schama has explained, the Low Countries were brilliant at managing their wealth strategies via a type of inconspicuous consumption.
Things looked simple, but the fine details, gradations and materials indicated status and fashion mannerism. Ruffs were made of linen or lawn and could be edged with lace of various qualities, much of it extremely expensive. The whiteness of linen connected the Protestant body to the Christian church: white was a symbol in Western liturgical culture of purity and also sacrifice.
White also had to be maintained, through the management of linen that t The painting is a synthesis of Friend's multi-facetted early interests: landscape, figure drawing, allusion, 19th-century Australian-history, satire, contemporary life and social issues. The essay includes 8 notes and was based on primary research conducted at the National Gallery of Australia, the National Library of Australia, and site visit to Hill End. Spectacular fashions , Silvana Editoriale, Milan, pp. By , more than one-third 37 per cent of Australia's population lived in cities and we can marshal much evidence - from material culture, oral histories, and submissions before commissions into the living wage and housing - to create a snapshot of domestic life at this time.
In the preceding century, the connections between high rates of disease, poverty and crime, and inadequate, overcrowded housing had become clear. Town planning, improved domesti architectun: an the provi ion of basi amenities were increasingly embraced for their role in social engineering and as solutions to medical problems. Home ownership was seen as a path out of poverty and into respeccability. This essay makes use of the French scholarly notion of the histoire des choses banales - everyday things - in order to elucidate a collection and exhibition of textile and dress across a long span from the 17th to the late 20th centuries.
It makes interconnections between the history of botany, plant collecting, garden aesthetics and the design of clothing and textiles, in order to argue that the floral motif is cross-cultural and ubiquitous. But it is connected in highly specific ways to different systems of social organization, personal adornment and religious practice.
It makes a case for the characteristics of plants that lend themselves to representation on a variety of formats and design methods. The flower provides a unifying and versatile stylistic device highly suitable for both two- and three-dimensional surfaces. As two-dimensional motifs such as textiles and low-relief sculpture are always preferred by belief systems in which the mimetic copy of nature is discouraged, the flower carries a special place in decorative arts and architectural embellishment. The writer, McNeil, worked with the curator, Roger Leong, at the prestigious National Gallery of Victoria in order to make the final selection of artefacts and then to contexualise them through the format of the essay.
The exhibition received notices in the major Melbourne presses and had a high visitorship as would be expected at this flagship gallery. The exhibit was designed to introduce to new audiences the idea that White's somewhat difficult prose matches the complexity of the psychological and social conflict he describes. He was the academic curator of the Patrick White focus exhibit and he worked with a professional exhibition designer, Kate Richards. He selected the materials from the National Library of Australia collection in order to elucidate this complex figure, did the final cut and edit, wrote a series of detailed text panels in plain English attached , liaised with the designers and media, spoke at the event and chaired the related Panel.
Patrick White is considered perhaps the greatest Australian novelist, actively involved with the arts and, in later life, political activism. A series of recently discovered letters in the collection of NLA, as well as a facsimile MS, notebook, correspondence and photographic material, were selected and re-contextualized by McNeil in order to create new insights into White's creative process.
McNeil sets a critical framework for interpreting the work of Patrick White through social and cultural theory and historical methods. McNeil's interpretive method has been developed over long standing work on his historical interpretation of cultural artefacts. The exhibition presented new Patrick White archival material interpreted by McNeil through a contemporary theoretical contextual framework. McNeil, PK , 'Posture. Manolo Blahnik, Shoe designer. Attended by approximately thirty-five participants, the former event was conducted with site visits at the Livrustkammaren The Royal Armoury Stockholm, the Nationalmuseum Stockholm , the Nordiska museet Stockholm and a reception and address by guest curator Dr Patrik Steorn at the Hallwyl Museum.
This is a full report by the symposium convener, McNeil. McNeil interviewed on gay, queer and other perspectives on design including interior design and the status of the arts including costume arts. Re-shaping Australian Manufacturing? Design, 3D printing and workplace transitions. Mapping memory and history in UTS environs: connecting fashion products and workers' lives in the industrial heritage of Sydney. A comparative historical study of English and French men's self-fashioning, with reference to gender, sexual and national identity, c View description The term 'macaroni' was once as familiar a label as 'punk' or 'hipster' is today.
View description Polish translation of Oxford University Press monograph by the author s. View description This is the first book to connect shifts in critical writing and approaches to fashion over a long span of time, from the seventeenth century to the present day. View description Salo is a small southern Finnish town, an hour and half's drive from Helsinki where you would not necessarily expect to visit a show with the word 'luxury' in the title.
View description Vol. View description In when this term was included in Pierce Egan's new edition of Grose's Classical Dictionary of the Vulgar Tongue , 'macaroni' had been circulating in the English language for sixty years, denoting a species of foppish man. View description Many different types of museums collect, document, and preserve textiles, interpreting them through temporary and semi-permanent exhibitions, publications, and web- site interventions — sometimes independently, sometimes as part of a broader histo- ry of art and design, science and technology, social history and anthropology, local history or world cultures for example, see the range and approaches in major fash- ion capitals such as London, Paris, Milan, New York with a long tradition of textile production as well as consumption, and in manufacturing cities such as Krefeld, Lyon, Manchester.
View description Many different types of museum collect, document, and preserve textiles, interpreting them through temporary and semi-permanent exhibitions, publications and website interventions — sometimes independently, sometimes as part of a broader story of art and design, science and technology, social history and anthropology, local history or world cultures. View description Closer attention paid to the implications and effects of things that now seem ephemeral, such as fashion prints or fashion plates, has much to offer those who study image culture and ideology more generally.
View description NA. View description How do we index dress? View description Review of S. View description In this paper I outline some of the historiographical issues that inflect the study of objects within Australian art history, firstly for the nineteenth century and then, more briefly, for the twentieth. View description The notion of crossings between art and fashion has become a new fashion itself at the moment. View description Dr. View description Over the last decade, fashion studies has emerged as an interdisciplinary field of research.
View description Women's enormous Belle Epoque picture hats with their sweeping ostrich feather sprays, the falling ostrich capes and the stylish aigrettes of the years just before the Great War were not simply conjured up by 'man milliners' and 'madame' dressmakers working in cities and towns around the world. View description Commentary in book catalogue produced by the National Gallery of Victoria - scholarly work on Regency Fashion history.