Fashion Exhibitions

This article explores the increasing prominence of Korean contemporary artists in the global art market through their collaborations with prestigious luxury brands. It provides an in-depth analysis of how luxury brands such as Hermès, Dior, Cartier, and LOEWE have evolved from mere patrons of the arts to active participants in shaping contemporary cultural narratives, contributing to the internationalization of Korean contemporary art. We also delve into the achievements of Korean artists within these luxury brand-led initiatives, using data-driven analyses to compare the impacts of different luxury brand awards and exhibitions. The article concludes that these luxury brand collaborations not only enhance the global visibility of Korean art but also contribute to the growth of Korea's cultural economy, positioning the country as a central player in the 21st-century global art market.

Ce mémoire explore la manière dont Cristóbal Balenciaga est présenté dans les musées occidentaux, notamment en Espagne, en France et en Amérique du Nord. En analysant ses liens avec la peinture, les traditions populaires et l'orientalisme, l'étude montre que les institutions muséales mettent souvent l'accent sur ses origines espagnoles, parfois au détriment d'une compréhension plus large de son œuvre. Ce travail interroge cette représentation réductrice, montrant que l'influence espagnole n'était pas la seule source d'inspiration de Balenciaga, qui a su dépasser les frontières culturelles pour devenir une figure incontournable de la mode internationale.

This year's special exhibition KINDER IN SAMT UND SEIDE shows magnificent children's clothing from over 400 years of fashion history in dialog with children's portraits from our collection. On display are over forty precious fashion ensembles from the Ohm Collection and Foundation, which comprises one of the most important private fashion collections in Europe, and thirty historical paintings and photographs. The biographies of the little princesses and princes are brought to life and viewers learn
what children's fashion can tell us about the past and about us today. For the first time, we are also presenting our special exhibition as a magazine.

Die Sonderausstellung KINDER IN SAMT UND SEIDE ist der Höhepunkt unseres Themenjahres. Die Ausstellung zeigt prächtige Kinderkleidung aus über 400 Jahren Modegeschichte im Dialog mit Kinderporträts aus unserer
Sammlung. Zu sehen sind über vierzig kostbare kleine Modeensembles aus der Sammlung und Stiftung Ohm, die eine der bedeutendsten privaten Modesammlungen Europas umfasst, und dreißig historische Gemälde und Fotografien. Die Biografien der kleinen Prinzessinnen und Prinzen werden auf diese Weise lebendig und die Betrachterinnen und Betrachter erfahren,
was Kindermode alles über die Vergangenheit und über uns heute erzählen kann. Erstmals präsentieren wir Ihnen unsere Sonderausstellung auch als Magazin.

Todos os direitos reservados e protegidos pela Lei 5988 de 14/12/73. Nenhuma parte deste livro, sem autorização prévia por escrito da editora, poderá ser reproduzida ou transmitida para fins comerciais, sejam quais forem os meios empregados: eletrônicos, mecânicos, fotográficos, gravação ou quaisquer outros. Aplica-se subsidiariamente a licença Creative Commons Atribuição 4.0 Internacional (CC BY 4.0).

This research identifies ‘Designer Intent’ as way of evaluating authenticity when conserving postmodern fashion artefacts incorporating modern, transient materials and technologies, supporting a dress object’s ‘continual identity’ - A new notion connecting different users to sustain the cultural value of postmodern fashion. The transient properties of some modern materials effect the quality, appearance and tactility over time changing the artefact’s ontological and material cultural meaning, often limiting the scope of interpretive fashion practice. Material Engagement Theory is utilised as a framework for artefact examination, defined as the ‘in-between’ space of the mind and the maker, helping to identify ‘material relationships’ as a consideration to support a holistic approach to conservation. One that acknowledges the physical degradation of fashion. Object studies include a Duvet Coat by Maison Martin Margiela, A/W 1999-2000, a Kaleidoscopic Perfectos Dress by ANREALAGE, S/S 2016 and a Tailored Coat by Raf Simons for Calvin Klein, A/W 2017 informing new criteria connecting ‘Designer Intent’ and authenticity. Degradation of the pieces show shifting ‘material relationships’ encouraging reappraisal of the aesthetics of fashion artefacts, evidencing the need to rethink the role of archives and dress conservation. This ‘postconservation’ enquiry supports a ‘postfashion’ system, re-evaluating how we create, conserve and value emerging forms of material culture.

La teoria del design del XXI secolo ha contribuito in larga misura a evidenziare la coesistenza antagonista di capitalismo ed emergenze socio-ambientali. Tuttavia, ha solo marginalmente indagato il ruolo che i fashion designer possono svolgere in tale contesto. Questo contributo vuole intervenire nel dibattito teorico sul futuro sostenibile della moda e del design, discutendo le implicazioni che i tre concetti chiave dell’autonomia strategica, sviluppato da Hal Foster, il co-design, teorizzato da Ezio Manzini, e il futuring, definito da Tony Fry, possono avere sulla capacità dei fashion designer di modificare il sistema, innescare un cambiamento, dirigerlo o gestirlo. Questi concetti vengono indagati attraverso tre casi studio: Eugenia Morpurgo, Abitario e Garbage Core, progetti autonomi e indipendenti, avviati in Italia negli ultimi anni nell’ambito del design della moda, e qui scelti considerando la loro capacità di ridefinire il ruolo del progettista e della disciplina, rispondendo in modo originale alle questioni di sostenibilità ambientale e sociale in ambito moda.

This article reviews and analyses the use of African textiles in recent curatorial practices in Belgium from 2019 to 2021. We wish to emphasize the importance of the archival value of the textiles and to condemn museological prioritization of a transnational Eurocentric discourse at the expense of indigenous knowledge resources. Our premise is that handwoven textiles from Africa are a rich source of cultural, historical and spiritual knowledge and may be used as a sociological and anthropological template by which to understand Belgian citizens of African descent.

Digital Resources in Humanities and the Arts) continues to be a key gathering for all those are influenced by the digitization of cultural activity, recourses and heritage in the UK and beyond. A series of annual conferences whose goal is to bring together the creators, users, distributors, and custodians of digital research and resources in the arts, design and humanities to explore the capture, archiving and communication of complex and creative research processes. This includes: Scholars, teachers, artists, publishers, librarians, curators or archivists who all wish to extend and develop access and preservation regarding digitized information rendered from contemporary culture and scholarship; the information scientist seeking to apply new scientific and technical developments to the creation, exploitation and management of digital resources. DRHA provides intellectual and physical space for cross-disciplinary discussion and the generation of new ideas, resulting in many new networks and productive research relationships. The DRHA conference started at Dartington, and it was a development from the DRH conference series which began at Oxford in 1997.

A pompadour made from black hair extensions balances on top of a slightly larger-than-lifesized mannequin: lower torso, legs and arms; a string-covered yeti or primordial sea creature slouches on a plinth, head on hand, foot resting on a bust of King Tut. Another bust, this one reminiscent of Leonardo's David, sprouts black ceramic vases, cats and candle holders, becomes Darth Varder-esque, post-human. Valérie Blass's work evokes a fancy dress or fetish party, with the attendant exaggerations and inversions: symbols of male and female, animal and vegetable, organic and manufactured, high and low, appear to reverse, change places and merge. Performing from plinths and pedestals, Blass's figures gesture and emote. "Look at me, I'm a sculpture!", they seem to say, as if surprised to find themselves in the halls of high art. Femme Panier, 2010, with her gaudy shirt yanked over a wicker basket torso (and, perhaps, a basket case herself), and her fishnet stockings that sag at the crotch, gesticulates in both directions. Her right hand bears a bright green garden tool (Is it a missile? A weapon?); the other sports white-on-black skull and crossbones insignia, like a teenager's homemade tattoo. Often close to human scale, Blass's sculptures foster curiosity. Their visual and tactile surprises draw us close so that we can investigate the hidden possibilities of the works' crevices and folds.

The concept of Australian fashion as a distinctive style and cultural preoccupation has been long contested. However, historical records and contemporary consumer behavior show that fashion has been integral to the formation of national identity and sense of self. Since European settlement, there have been periods when Australians have embraced and promoted Australian style as unique and not merely derivative of overseas (mostly European and American) trends. This article traces the development of a discourse about Australian fashion to contextualize a number of recent publications and art gallery exhibitions about Australian fashion that explore various aspects of its history, development, distinctiveness, and future. These publications and exhibitions are collectively building the framework for a revitalized perception of the significance and potential of Australian fashion in the global fashion context.

Abstract: Gender studies and feminist movements question the gender condition, taking
into account that gender differences are not natural but are socially constructed, especially
the inequality between female and male identities in heteropatriarchal society.
Identities are individual and collective beliefs and thought systems that are manifested
through signs, visible or invisible markers. One of the most important is the ornament,
which is the set of clothing and accessories, makeup, hairstyle, tattoo or piercing. Each
person uses the dress to show themselves and communicate with other individuals. From
queer theory, the issue of identities and their relationship with clothing and fashion is
raised.
Starting from this theoretical basis and social reality, this paper wants to offer a response
to the current debate on gender inequality and new identities from the Barcelona Design
Museum; building a reinterpretation of the history of fashion from a gender perspective,
to propose a new permanent exhibition at the Museum.
The writing reviews a new social history of fashion up to the present, in which a growing
number of designers and fashion companies raise gender issues as the essence of the brand
or marketing strategy. In these cases, new methods are adopted to make the body shape
invisible with oversize models without the need to resort to traditional pattern making.
This is how it is possible to promote and optimize new patterns, on men’s and women’s
garments indistinctly.
Resumen: Los estudios de género y los movimientos feministas cuestionan la condición
de género, teniendo en cuenta que las diferencias de género no son naturales sino que
están construidas socialmente, especialmente la desigualdad entre identidades femeninas
y masculinas en la sociedad heteropatriarcal.
Las identidades son creencias y sistemas de pensamiento individuales y colectivos que se
manifiestan a través de signos, marcadores visibles o invisibles. Uno de los más importantes
es el ornamento, que es el conjunto de vestido y complementos, maquillaje, peinado,
tatuaje o piercing. Cada persona utiliza el vestido para mostrarse y comunicarse con otros
individuos. Desde la teoría queer se plantea el tema de las identidades y su relación con el
vestido y la moda.
Partiendo de esta base teórica y de la realidad social, el presente escrito quiere ofrecer
una respuesta al debate actual sobre desigualdad de géneros y nuevas identidades desde
el Museo del Diseño de Barcelona; construyendo una reinterpretación de la historia de la
moda desde la perspectiva de género, para plantear una nueva exposición permanente en
el Museo.
El escrito revisa una nueva historia social de la moda hasta la actualidad, en la cual un
número creciente de diseñadores y de empresas de moda plantean temas de género como
esencia de la marca o estrategia de marketing. En estos casos, se adoptan nuevos métodos
para invisibilizar la forma del cuerpo con modelos oversize sin la necesidad de recurrir a
un patronaje tradicional. Así es como se logran fomentar y optimizar nuevos patronajes,
sobre prendas masculinas y femeninas indistintamente.

Resumo: Os estudos de gênero e os movimentos feministas questionam a condição de gênero,
levando em consideração que as diferenças de gênero não são naturais, mas construídas
socialmente, especialmente a desigualdade entre as identidades feminina e masculina
na sociedade heteropatriarcal.
Identidades são crenças e sistemas de pensamento individuais e coletivos que se manifestam
por meio de signos, marcadores visíveis ou invisíveis. Um dos mais importantes
é o enfeite, que é o conjunto de roupas e acessórios, maquiagem, penteado, tatuagem ou
piercing. Cada pessoa usa o vestido para se mostrar e se comunicar com outras pessoas. A
partir da teoria queer, levanta-se a questão das identidades e sua relação com o vestuário
e a moda.

Jewelry has been used for the purposes of belief, magic, protection or ornamentation since the day the human beings have existed. The phenomenon of jewelry has changed with developing and changing ages and has gained a different meaning in each period. Jewelry gained meaning and a place in the history sometimes with its design and sometimes with the materials used. Concepts of art and craft towards which our point of view changed with the industrial revolution intertwined in time and new formations occurred. Jewelry and jewel had been accepted as crafts from the ancient times to the 18th century, after the 18th century, jewelry succeeded to be accepted as an art and gained a place in the history of contemporary art. With the works of the artists, the design of jewelry improved and had very important progress. In the lights of all these formations, when someone thinks about the design of jewelry, one of the elements that comes to mind is the original jewelry that is produced with different materials. Classical jewelry on which just precious metals and stones are used gives place to special designs which are more modern, unlimitedly composed with every kind of materials. In this article, the use of porcelain in the boundless contemporary design of jewelry is going to be mentioned and examples are going to be presented from the works of modern jewelry designers who use porcelain..

This paper is based on the study of the application of the tools of design methodology in technological textile products also called smart fabrics. The application of the design methodology in the creative process took place in a textile factory by checking the contributions to the creativity, innovation, and quality. The purpose of studying the design practices in the use of resources and methods of the textile contributes to the development of the product and also meets the needs of customers. In this context, modifications were necessary to the development tools in the creative process that may cause the best use, reduction and cost containment improving the overall quality and meeting customers' needs. There is much talk about making products, refining and improving, but there is hardly any detailed application on how to carry it out, what parameters are used to such an achievement and what solutions are applied to the design process. The application in creative processes and product design follows parameters that are often provided by customers. The concepts that are linked to these product development processes, and the understanding of their purpose helps reveal the customers' needs.

This poster is a partial result of ongoing research about indigenous objects displayed in exhibitions dedicated to fashion in Brazil. Based on case studies that brought indigenous and fashion objects together, this brief reflection highlights some questions about dress history and fashion curating practices in Brazil.

The design profession is not immune to the systematic oppression of
patriarchy, although it has its own gender-specific histories. From the history of
design, it is possible to understand the relationship and participation of women in
its development and understand the need for other approaches, especially those
associated with fashion design and the relationship with female textile ancestry.
Currently, there is a considerable number of studies that address female relationships,
the role of gender and female textile ancestral knowledge both in relation to
the area and design processes. These add data and values to the question of how
gender is constructed through design processes, which can directly contribute to
more sustainable results, as well as to the configuration of meaningful and culturally
relevant products. This article aims to address the marginalized relationships
in the history of design: women - fashion design - female textile ancestry.

After May 2, 2022, heritage conservation briefly became a hot topic in the world of celebrity gossip. That evening, Kim Kardashian, a reality TV star and entrepreneur, wore a 60-year-old dress that had belonged to Marilyn Monroe to the Metropolitan Museum of Art's annual Costume Institute Gala. In wearing Monroe's dress, Kardashian sought to channel the glamor and celebrity of the mid-century star. She also summoned the ire of museum professionals, who considered her choice to wear a fragile historical garment a flagrant violation of conservation ethics. Yet increasingly, the discipline of conservation has come to recognize that an object's 'integrity' does not rest solely in its physical materials and the emerging discourse of performance conservation, informed by research into the conservation of contemporary art as well as intangible cultural heritage, emphasizes the active lives of what I call 'performative objects' over their physical form and static appearance. Here, I posit that Kardashian's wearing of Monroe's dress may be understood as a form of conservation perhaps not of the dress itself, but of the performance of which that dress was an integral part, and without which, I argue, the dress has little significance. To make this argument, I will also draw on innovative approaches to the conservation of Indigenous heritage that recognize the preservation value of reanimating objects from the past. Establishing Monroe's dress as a 'performative object,' an item inextricably linked to the body in motion, I endeavor to show how performance itself preserves the past.

Os organizadores não tiveram dificuldade em concordar que o melhor espaço para abrigar, em 28 de outubro de 2019, o seminário Arte contemporânea, arquitetura, paisagem, seria o Museu de Arte Contemporânea de Niterói. O museu, ao mesmo tempo, insere-se na paisagem urbana da cidade e instaura uma relação com a Baía de Guanabara. O seminário foi a ocasião para as apresentações que serviram de base para este dossiê, assim como para discussões muito profícuas. 

Immersa nella campagna parmense, la Villa dei Capolavori di Mamiano di Traversetolo, sede della Fondazione Magnani-Rocca, è una delle più interessanti ed importanti istituzioni artistiche d'Italia. Un luogo dal fascino incredibile e senza tempo, dove il visitatore, tra arredi neoclassici e giardini abitati da maestosi pavoni, può perdersi ad ammirare la collezione del mecenate Luigi Magnani, che comprende, tra le altre, opere Filippo Lippi,

Introduction/Problematization: Junior companies are environments that can provide the experience of the business student in the market, develop behavioral and technical skills and have direct contact with the professional environment. Thus, it is essential that they have robust internal processes and that they can weakenthe dynamism of the environment, taking into account the challenges and difficulties encountered. In this context, the following question arises: what are the main internal management difficulties observed in the Junior Company, in view of thestandardization of operational procedures? Objective/proposal: The present work sought to understand the main obstacles faced by these companies, from a single case study of Empresa Júnior Unimontes - EJU. Thus, the present work has as general objective to analyze the main difficulties of internal management of the Junior Company. In addition, as specific objectives, it is sought to: a) map the management processes; b) to identi...

Textiles and Clothing Museum. In her research she examines the interrelationships of dress and identity with a social justice lens. She has taught courses across the apparel curriculum in design, product development, merchandising, culture, and history. Kyra Streck is a master's student at Iowa State University studying Apparel, Merchandising, and Design. She received her bachelor's degree in Fashion Design and Management from Cornell University. She is a recipient of the Agatha Huepenbecker Burnet Endowed Graduate Research and Teaching Assistantship. Her research background and interests include queer and genderqueer individuals' relationships to dress and informal economies.

Che senso ha, oggi, proporre una discussione sulle metodologie della ricerca in design, in un mondo di mutamenti rapidi e imprevedibili, in una situazione che sembra richiedere flessibilità e astuzia, intuizione e azzardo più che il rigore di strumenti consolidati? Per rispondere a queste domande, la terza edizione di Frid – Fare ricerca in design ha messo a confronto dottorandi, dottori di ricerca e studiosi sul tema dei metodi

In the last twenty years, fashion has been the main leitmotiv to more than 200 exhibitions in European museums. The rise of fashion exhibitions is linked with the recognition of the economic importance of fashion culture, which has been interpreted as cultural heritage by our society. Thus, despite the relevance of the aesthetical dimension of fashion artefacts and images, fashion exhibitions highlight the “Made in” discourse of fashion — the narrative about the capacity for creating, producing and circulating fashion cultures —, to connect artefacts and people. This article selected several European fashion exhibitions as examples, and it was possible to discuss some discursive strategies to transform the fashion culture in cultural heritage. The intention is to demonstrate that the heritagization process of fashion is based on the exploration of the fashion system and not limited to the visual and material aspects of fashion products.

The fashion industry, influenced by art from a social and cultural point of view, reveals inspiring display designs. In this sense, showcases whose aims are to increase purchase, have started to use installation art in order to attain the interest of potential customers. This is one of the methods they have applied in recent years. Installation, one of the varieties of conceptual art, is a type of visual art that present different experiences to its viewer by incorporating the viewer into it while it makes use of the qualifications of the place. The use of this art in display cases, whose examples in many disciplines can be seen, provides aesthetic and innovative expansions by giving qualifications to the fashion products as an artistic object. Such showcases, which were initially used on special occasions such as the new year's day and the valentine's day, have become widespread to the extent such as exhibiting seasonal products. It is also known that numerous famous fashio...

Overview: Training and performance attire for intensive physical activity requires particular attention to functional design, and in the case of circus arts these garments carry the additional and essential consideration of safety, especially in conjunction with the use of an apparatus or physical interactions with act partners. Circus performers are artists and athletes, executing extraordinary physical feats while wearing garments that allow for movement, provide for safety, and simultaneously meet the aesthetic needs or themes of the show. Knowledge of apparel development for circus arts is traditionally held within the community or by specially trained designers and technicians who work closely with performers. As the essential safety and functional specifications required for circus costume are not widely documented or readily available to apparel and performance design programs and industry, there are precious few apparel designers with the knowledge and skills to create circus attire. This paper is presented as part of a larger dissertation research project developing foundational resources and information on the topic of safety and function in apparel for circus arts and is intended as a starting design framework for the development of circus apparel. Given the considerable lack of information or knowledge in the field of apparel regarding development of these garments, there is an urgent need for guidelines and frameworks on the design and production of performance attire for circus. By combining elements of existing apparel design frameworks, it is possible to locate necessary design considerations and processes for circus costume development. These frameworks are 1) Stokes and Black's (2012) work on clothing for adolescent girls with disabilities, which is based on 2) Lamb and Kallal's (1992) functional, expressive and aesthetic (FEA) model of consumer needs and accompanying apparel design framework, and 3) a costume design framework by Jablon-Roberts and Sanders (2019) on garments for historically set theatrical productions. These three frameworks are particularly important because they stem from rigorously researched works involving design practices targeting people with specific needs ranging from safety and function to aesthetic storytelling. Existing Frameworks: Within the entertainment industry, many designers follow practices that align with Jablon-Roberts and Sanders' (2019) costume design process framework centering on three themes (applicability, attainability, and performability), and four factors (incubation, research, role-playing, and historical manipulation) underpinning iterative approaches, all focused on live entertainment productions with historical settings. Of these, historical manipulation and role-playing may not always be necessary for circus and thus are discarded in the present research. Lamb and Kallal's (1992) FEA model of consumer needs and accompanying apparel design framework (see figure 1) is an established and often-used resource for scholars across apparel design disciplines (Orzada & Kallal, 2021). This framework was utilized in Stokes and Black's 2012 research on apparel for adolescent girls with disabilities. Interestingly, their result of body/garment/near environment interaction (BGN) in context with safety and the consideration of assistive devices make their interpretation of the FEA model

This research falls within the framework of studies on fashion journalism and the women's press in Spain. During the 1930s the previously unknown professional role of fashion editor began to take shape in the American media: a position whose main activity was no longer directly linked to writing and which was implicitly associated with the photographed image. In Spain, where fashion reporting had not yet been professionalised into such specific positions, women's publications consolidated the practice of including journalists in their staff, writing being their main activity. Adopting a comparative perspective across a series of newspapers from the Francoist period and through a methodological approach that combines the use of oral and newspaper sources, this article focuses on describing the birth of the role of fashion editor in the Spanish context. Our research starts with the columnists of the illustrated press of the early 20th century, goes through the journalists affiliated to the Círculo de Escritores de la Moda [Circles of Fashion Writers] in the 1960s, and concludes with Sofía Torga de Caruncho's appointment at Telva and the institutionalisation of the "directora de moda" position.

A couturier can also-must be-a surveyor, an outspoken individual who has not exhausted his ability to love, an illusionist, a child, an astonomer, someone naive and a genius, an occasional writer, a copier, a tamer, a promoter, and a clairvoyant. Scriveva così nel 1983, su «Le Monde», Hervé Guibert a proposito della mostra che il Metropolitan Museum of Art di New York dedicava a Saint Laurent 1. Organizzata da Diana Vreeland, è stata la prima retrospettiva incentrata sul lavoro di uno stilista vivente. Un primato che si spiega con le parole della stessa curatrice: "Because he is a genius, because he knows everything about women. He lives in a world of artistry, in the sensual life of France, which is still the fashion center of world" 2. Nel 1955 quando il grande Christian Dior vide i disegni del giovane Yves, lo assunse e ne fece il suo delfino; due anni più tardi, alla morte del maestro, Saint Laurent ne divenne l'erede, presentando la sua prima collezione-Trapèze-che fece esultare anche "Life". Dior ci aveva visto lungo. Nei primi anni Ottanta Saint Laurent, a venticinque anni dalla fondazione della propria maison, non era solo un'icona affermata, era riconosciuto da tutti come un genio, un artista.

This paper is based on the study of the application of the tools of design methodology in technological textile products also called smart fabrics. The application of the design methodology in the creative process took place in a textile factory by checking the contributions to the creativity, innovation, and quality. The purpose of studying the design practices in the use of resources and methods of the textile contributes to the development of the product and also meets the needs of customers. In this context, modifications were necessary to the development tools in the creative process that may cause the best use, reduction and cost containment improving the overall quality and meeting customers' needs. There is much talk about making products, refining and improving, but there is hardly any detailed application on how to carry it out, what parameters are used to such an achievement and what solutions are applied to the design process. The application in creative processes and product design follows parameters that are often provided by customers. The concepts that are linked to these product development processes, and the understanding of their purpose helps reveal the customers' needs.

This doctoral project engages with historical and critical debates surrounding the presence of fashion exhibitions in the museum. In particular, it problematises the issue of the temporal distance between artefacts and audiences, presenting the idea that different ways of presenting fashion to audiences underlie different ways of constructing its history. It develops considerations on historiography and museology, supplementing the limiting distinction between historical, new historical and thematic exhibitions with a set of concepts that enable the discussion and the evaluation of the qualities of historical representations. In Ersilia, to establish the relationships that sustain the city's life, the inhabitants stretch strings from the corners of the houses, white or black or gray or black-and-white according to whether they mark a relationdhip of blood, of trade, authority, agency. When the strings become so numerous that you can no longer pass among them, the inhabitants leave: the houses are dismantled; only the strings and their supports remain. From a mountainside, camping with their household goods, Ersilia's refugees look at the labyrinth of taut strings and poles that rise in the plain. That is the city of Ersilia still, and they are nothing. They rebuild Ersilia elsewhere. They weave a similar pattern of strings which they would like to be more complex and at the same time more regular than the other. Then they abandon it and take themselves and their houses still farther away. Thus, when traveling in the territory of Ersilia, you come upon the ruins of abandoned cities, without the walls which do not last, without the bones of the dead which the wind rolls away: spiderwebs of intricate relationships seeking a form.

In recent years there has been increased interest in populations historically underrepresented in museum collections, including those of diverse color, gender, and class. This paper seeks to add size – specifically fatness – to that list, and advocates for museums to uncover and exhibit their larger pieces of women’s dress. It discusses the interconnection of the fashion industry with the museum to understand the forces that maintain an anti-fat bias in acquisitions and exhibition. It emphasizes the need for change in the museum, not just on the catwalk. It asks museum staff and scholars to acknowledge that fat people existed in history and deserve to be represented through their fashionable dress. It seeks out existing collections of larger clothing and asks why and how they were collected, and it searches for solutions to the difficulties of finding and displaying such garments.
This paper relies upon news articles, historical sources, theses and dissertations, and lastly, a series of interviews with museum, auctions, and sales staff who work with historic and contemporary collections of dress across the US.

In the article, referring to the Bihor vs. Dior case study, we criticize the phenomenon of illegitimate borrowing of the achievements of a given culture by corporations which we consider an act of cultural appropriation, in terms of both aesthetics and business ethics. We also describe the potential for a positive solution to the problems of cultural borrowing. The first part of our analysis is based on Roman Ingarden’s phenomenological theory of art, concerning artistic and aesthetic qualities and artistic and aesthetic values. Our analysis consists of the juxtaposition of two works, i.e., traditional clothing from the region of Bihor and clothing referring to this original, presented in the Dior collection, along with an indication and comparison of the associated qualities and values. In the second part of the article, we analyze the Bihor vs. Dior case from the point of view of the contemporary concepts of CSR (corporate social responsibility) and CSV (creating shared values). W...