Xenia Politou Exhibition Officer, Benaki Museum & Secretary of the Hellenic Costume Society (GREECE), politou@benaki.gr

Transcript

1 ABSTRACTS-ΠΕΡΙΛΗΨΕΙΣ INTRODUCTORY PRESENTATION Xenia Politou Exhibition Officer, Benaki Museum & Secretary of the Hellenic Costume Society (GREECE), Dress Collections in Greece. An Attempt to Survey the Dress Collection Background before Establishing a Costume Culture Museum in Greece This paper is an overview of the museum dress collections in Greece, on the basis that an initiative towards the establishment of a new museum, in particular a Costume Culture Museum, should be founded on a comprehensive record of the type and the size of the existing collections. Such a survey, in addition to being a classification attempt based on the unique nature of such collections, will try to detect the criteria of their formation and their position within the context of the museums in which they belong, as well as their particular dynamic, as expressed mainly through exhibitions. ΕΙΣΑΓΩΓΙΚΗ ΕΙΣΗΓΗΣΗ Ξένια Πολίτου, Επιμελήτρια Εκθέσεων στο Μουσείο Μπενάκη & Γραμματέας της Ελληνικής Εταιρείας Ενδυμασιολογίας (ΕΛΛΑΔΑ), politou@benaki.gr Ενδυματολογικές συλλογές στην Ελλάδα. Μια απόπειρα χαρτογράφησης του ελληνικού ενδυματολογικού τοπίου πριν από τη δημιουργία ενός Μουσείου Πολιτισμού του Ενδύματος Η ανακοίνωση επιχειρεί μια επισκόπηση των μουσειακών κατά κύριο λόγο ενδυματολογικών συλλογών, με βάση το σκεπτικό ότι η πρωτοβουλία για τη δημιουργία ενός καινούργιου μουσείου, ενός Μουσείου Πολιτισμού του Ενδύματος εν προκειμένω, πρέπει να στηρίζεται πάνω σε μια όσο το δυνατόν πληρέστερη καταγραφή τόσο του είδους όσο και του μεγέθους των υφιστάμενων συλλογών. Μια τέτοια επισκόπηση, πέρα από μια προσπάθεια ταξινόμησης με γνώμονα τον ιδιαίτερο χαρακτήρα των συλλογών, θα προσπαθήσει να ανιχνεύσει τα κριτήρια της συγκρότησής τους και τη θέση που κατέχουν στο πλαίσιο των μουσειακών οργανισμών στους οποίους ανήκουν, καθώς και την ιδιαίτερη δυναμική τους, έτσι όπως εκφράζεται κυρίως μέσα από τη διοργάνωση εκθέσεων.

2 PART 1 ΕΝΟΤΗΤΑ 1 HISTORY OF COSTUME ΙΣΤΟΡΙΑ ΤΟΥ ΕΝΔΥΜΑΤΟΣ Aileen Ribeiro, Ph.D, Professor, Courtauld Institute of Art, London (UK), Aileen.Ribeiro@courtauld.ac.uk Keynote speech: Towards a Culture of Costume in Art Βασική ομιλία: Το ένδυμα στην τέχνη ως στοιχείο πολιτισμού One should either be a work of art or wear a work of art (Oscar Wilde) This lecture discusses some of the links between art and fashion, and argues for the centrality of the visual in a culture of costume in the western world. Knowledge of extant costume is a necessary prerequisite to what Roland Barthes in his Système de la Mode (1967) calls writtenclothing and image-clothing, and of course the actual garments displayed in a museum context. Interestingly, Barthes although his work prioritizes the importance of written-clothing thought that images of fashion were closer to real dress because of common links regarding plastic and spatial forms, lines and colour. To some extent, the new art/dress histories have moved attention away from the object towards the social contexts in which they were created structures of power, politics, gender, psychoanalysis, and so on. Perhaps this approach has been too fervent, and we ve moved too far away from the object, but it s important to look at dress with some theoretical background; as Terry Eagleton notes (The Significance of Theory, 1990), humans move within a world of meaning. Dress, like art, is often full of signs, of ambiguities, and sometimes contradictory impulses, and needs de-coding if it is to have meaning. My main theme within the close relationship between fashion and art, is to see how artists contribute to the culture of costume in their work. I propose to look at some of the ways in which clothing - what Henry James calls the glory of costume, the gospel of clothes is crucial to the work of the artist. Sadako Kato, Ph.D (JAPAN), ohana71@hotmail.com A Study on Ancient Clothing Μελέτη για την αρχαία ενδυμασία It has long been thought that in the Western world, contoured clothing which was made to fit the wearer s form was developed in the second half of the 14 th century. However, according to my examination, contoured clothing (constructed by using some curved

3 lines and unable to lay flat) was created and worn by nomads in Central Asia from a period dating back to ancient times. In 1993, the remains of woman, clothed in a long dress made of Chinese silk, were excavated from the Ak-Alaxa graves in mountainous Altai and was dated from the 5 th century B.C. to 3 rd century B.C. The sewing threads (made of local wool) were unpicked, and the left and right sleeves, the front and back bodies, and gusset were removed separately so as not to damage the dress. It was thought that it had been made in the region because it was sewn using wool threads, and it had been worn when she was alive and not used solely as her burial dress because there were some restored areas. It was constructed almost the same as contemporary clothes of today. However, the excavated dress had two different points in form the back neck was scooped as deeply as the front neck and the centre hem was a little pointed. These two characteristics, I deduced, showed that its design was based on fur clothes. Ancient nomads and hunter gatherers in Central Asia made contoured clothing using animal hides. In order to make best use of the hide, the fur dress was made from the upper part after cutting off the hard neck area to the pointed tail part of the hide. As a result, the neck was cut so deep and the centre hem was a little pointed. I thought that when they first began using silk, they cut it using pieces of their own fur clothing as model patterns, or templates, cutting each piece a little wider than the fur model. This research couldn t have conducted without cooperation of Dr. A.P. Derevianko and Dr. N. V. Polosmak. Anne Hedeager Krag, Senior Research Associate, Centre for Medieval Studies, University of Southern Denmark (DENMARK), hedeager@stofanet.dk Symbols of Power in Dress from Viking Age Denmark Σύμβολα εξουσίας στο ένδυμα της εποχής των Βίκινγκς στη Δανία Hitherto it was thought that fine costumes with gold and silver threads, silk clothes and blue and red textiles were quite unique in the Danish Viking Age ( AD). New analyses of very small textile fragments have revealed, however, that costly textiles were far more common in the 10th century than previously thought. Examination of these textiles fragments from Danish Viking Age graves shows a dress with a European origin and with influences from Christianity. Moreover both these influences have their source in Byzantium.

4 Vassiliki Rokou, Professor of Folk Studies, University of Ioannina (GREECE), How do the Ioannites dress up? The periodisation of a society This paper will explore the re-reading of the history of a region by means of the details and the construction of a costume as well as by means of the terminology and costume tradition that has been shaped via people s communication and the expansion of borders through the international trade and the dissemination of costume elements from the 14th to the 19th century according to the basic prerequisites of both locally and globally produced fabrics. Costume types will be presented based on iconographic presentations and historical sources. Βασιλική Ρόκου Καθηγήτρια Λαογραφίας, Πανεπιστήμιο Ιωαννίνων (ΕΛΛΑΔΑ), brokou@cc.uoi.gr Πώς ενδύονται οι Ιωαννίτες; Περιοδολόγηση μιας κοινωνίας Η εκ νέου ανάγνωση της ιστορίας του τόπου στα μέρη και τη σύνθεση του ενδύματος, στην ονοματολογία και την ενδυματολογική παράδοση που διαμορφώθηκε μέσα από την επικοινωνία και κυρίως από τη διεύρυνση των συνόρων, μέσω του διεθνούς εμπορίου και της διάδοσης των ενδυματολογικών στοιχείων από τον 14 ο μέχρι τον 19 ο αιώνα, σύμφωνα με τη βασική προϋπόθεση των υφασμάτων τόσο της τοπικής όσο και της παγκόσμιας παραγωγής. Ενδυματολογικές μορφές κατά τις εικονογραφικές παραστάσεις και τις ιστορικές πηγές. Hϋlya Tezcan, Associate Professor, Retired Curator of Sultans Costume Department, Topkapi Palace Museum (TURKEY), hlytezcan@hotmail.com The Evaluation of the Sultan s Costumes Collection According to the Ottoman Fashion Η αξιολόγηση της συλλογής των ενδυμάτων του Σουλτάνου με βάση την οθωμανική μόδα The Topkapi Palace is the home to an opulent collection of apparel. Within this collection that numbers 1550 pieces, one can find every type of clothing, from outer kaftans to stockings. As for the costumes of women and children in the collection, they are few in number. Certain items of apparel for princesses and small children that were prepared in advance and kept in readiness remain. The most important contribution to the formation of this collection arises from a tradition of the palace. The items of clothing removed

5 from a deceased sultan along with others that belonged to him were removed and protected in wrappers, sometimes noted in a list of its character on a paper attached to the wrapper, and removed for storage in the treasury. Thus the collection of kaftans that began with those belonging to Mehmed II ( ) [The Conqueror], was completed with those of the last sultan at the beginning of the twentieth century, Mehmet Reşad. Beginning of the 16 th century sultans costumes were created at the special workshops within the body of the palace by court masters (ehl-i hiref). The designs for the fabrics used for court apparel were created by court designers known as hassa nakkaşları, and the fabrics for court apparel were woven by the court weavers known as hassa dokumacıları. A plan showing a weavers workshop which is kept today in the Topkapı Palace Archive is to be attributed to the court weavers. Because the palace workshops were unable to meet the demand, orders were also given to workshops in Istanbul and Bursa. Fabric was also ordered from the renowned weaving centers of the West in Italy, like Venice, Genoa and Florence. The fabrics, woven in the palace workshops, were tailored by the court tailors (hayyatin-i hassa) in their ateliers (terzihane) according to formerly prepared models. Because the Turks are a society devoted to their traditions, this devotion to tradition extended to their costume. The şalvar, inner robe and outer kaftan they wore Central Asia came to Anatolia with the Seljuks and was continued by the Ottomans.. The headgear and shoes are basically the same, but it can be observed that, as time passed, the Ottomans introduced changes that resulted in greater variety. By using visual material, this paper will try to introduce selected examples of Sultan s costumes, prepared in the court workshops. Selin Ipek, Doctor of Art History, Assistant to Head, Topkapi Palace Museum (TURKEY) selinipek@hotmail.com Women s Fashion in the Ottoman Court during the 18 th and 19 th centuries Η γυναικεία μόδα στην οθωμανική Αυλή κατά τον 18 ο και 19 ο αιώνα Western art influenced Ottoman art starting from the 17th century and its effects persisted until the 19th century. Westernization initially entered into military uniform, then expanded to men's fashion and finally to women's and children's fashion. The palace stored much of the clothing of the Ottoman dynasty, which practice has allowed these items to exist to the present and they are preserved and exhibited today in the Topkapı Saray Museum Sultan s Costumes Section. The aim of this paper is to introduce the clothing and fabrics of the eighteenth century Ottoman Court and to

6 describe the costumes and fashions favoured by the nobility of the Ottoman Empire during the period when the Empire was opening up to the West. Using documentation, I will also explain the effects of the increasing Western influence on women s apparel in the Ottoman court at the beginning of the nineteenth century. Anastasia Falierou, Ph.D Candidate, Instructor at Bahçeşehir University, Istanbul (GREECE & TURKEY), anafalierou@gmail.com The Evolution of Women s Clothing in Istanbul ( ) Every historical period expresses itself through the adoption of a different style of clothing. The change in dress, attests, in fact, the transition from one world to another. In the case of the ottoman society, this change must be understood as a confirmation of the passage from a pluri-ethnic empire to a national state. My paper examines the evolution of women s fashion in Istanbul from the Crimean War in 1853 to the foundation of the Turkish Republic from Kemal Ataturk in Throughout this period, Muslim women s appearance changed drastically as the traditional dress started gradually to be replaced by the Frankish dress. In the first part of my paper, the political, social and economic factors that contributed to the change of clothing will be studied. The use of fabrics, of colors and models is not accidental. On the contrary, it is the public expression of a person s social identity. The paper aims to demonstrate that the modernization of women s clothing is interconnected with women s position in the ottoman society. Αναστασία Φαλιέρου, Υποψήφια Διδάκτωρ, Διδάσκουσα στο Πανεπιστήμιο Bahçeşehir της Κωνσταντινούπολης (ΕΛΛΑΔΑ/ΤΟΥΡΚΙΑ), anafalierou@gmail.com Η εξέλιξη της γυναικείας μόδας στην Κωνσταντινούπολη ( ) Κάθε εποχή έχει ανάγκη να δηλώσει την ύπαρξή της με ένα διαφορετικό τρόπο ένδυσης. Η αλλαγή στην ενδυμασία δηλώνει τη μετάβαση από έναν κόσμο σε έναν άλλο. Στην περίπτωση της οθωμανικής κοινωνίας, η αλλαγή αυτή πρέπει να ιδωθεί ως η επισφράγιση της πορείας από μια πολυεθνική αυτοκρατορία σε ένα εθνικό κράτος. Η παρούσα ανακοίνωσή θα εξετάσει την εξέλιξη της γυναικείας μόδας στην Κωνσταντινούπολη από την αρχή του Κριμαϊκού Πολέμου το 1853 έως την ίδρυση της Τουρκικής Δημοκρατίας από τον Μουσταφά Κεμάλ Ατατούρκ του Κατά τη χρονική αυτή περίοδο, η αμφίεση των μουσουλμάνων γυναικών άλλαξε ριζικά, καθώς το παραδοσιακό ένδυμα άρχισε σταδιακά να αντικαθίσταται από τα μοντέλα του δυτικοευρωπαϊκού συρμού.

7 Στο πρώτο μέρος, θα αναλυθούν οι πολιτικοί, κοινωνικοί και οικονομικοί παράγοντες που συνετέλεσαν στην ενδυματολογική αυτή αλλαγή. Στο δεύτερο μέρος, θα γίνει αναφορά στη συμβολική του ενδύματος. Η χρήση υφασμάτων, χρωμάτων και μοντέλων δεν είναι τυχαία. Αντιθέτως, αποτελεί έναν δημόσιο τρόπο έκφρασης της κοινωνικής ταυτότητας του ατόμου. Η ανακοίνωση έχει ως στόχο να καταδείξει ότι ο εκμοντερνισμός της γυναικείας ενδυμασίας συμπορεύεται με την εξέλιξη της θέσης της γυναίκας στην οθωμανική κοινωνία. Michael Freeman, Curator, Amgueddfa Ceredigion, Coliseum (WALES, UK), Traditional Welsh Costume Η παραδοσιακή ενδυμασία της Ουαλίας Welsh women s costume was identified as being distinctive by many of the English visitors to Wales during the late 18 th and early 19 th centuries. It is, however, very likely that what they wore was a survival of a pan European costume worn by working rural women, developed from the bed gown worn by the gentry in the 17 th and 18 th centuries. For some reason, this element of the costume (along with the skirt, apron and shawl) survived in Wales for longer than elsewhere. In addition, the unique Welsh hat, which first made its appearance in the 1830s and was used as an icon of Wales from the 1840s coincided with an interest in the preservation of Welsh traditions by the gentry. It is likely that the Welsh costume began as a rural costume (with regional variations in Wales), and became recognized as a traditional costume by the wives and daughters of the better off farmers who went to market to sell their produce and perhaps wore it to distinguish themselves from incomers and vendors of imported produce. From the 1880s, when the traditional costume had just gone out of general use, it became adopted as a National Costume. From then on it was worn by women at major events (such as Royal visits), Eisteddfodau, in choirs and at church and chapel and for photographs. It was first worn by girls on St David s day just before the First World War. For more information, see and the pages linked to it which include a brief bibliography. This research is based on over 40,000 words written during the 18 th and 19 th century which describe the Welsh costume and over 1000 pictures and a similar number of photographs in which the Welsh costume is a dominant feature.

8 Beata Biedrońska-Słota, Ph.D, Chief Curator, Textiles Department, National Museum in Krakow (POLAND), Polish National Costume and Sarmatian Taste Το εθνικό πολωνικό ένδυμα και το «σαρματιανό» γούστο Studies of Polish costume have traditionally referred to the national Polish contush costume as oriental, presuming based on its splendour and style reminiscent of oriental attire such was its origin. Over the centuries the costumes in Poland underwent modifications according to the Polish taste and in the mid of the XVIII century gained its final shape of the Polish national costume, well-known as contush costume, popular name of a dress of Polish noble. Myrsini Pichou, Independent Researcher & Board Member of the Hellenic Costume Society (GREECE), myrsini2@hotmail.com On a Quest for Taste or National Identity? The Classical Influence in Women's Dress in England and Greece (Late 19 th -Beginning of 20 th Century) From the end of the 19 th century and until the outbreak of the First World War, there are some examples in female dress in England which seem to suggest that fashion was looking back to ancient Greek and Roman costume for inspiration. Being popular amongst the higher social and artistic circles, this trend is presented through existing garments, publications and photographs. Corresponding evidence from approximately the same period in Greece allows us to presume the existence of this trend in Greek dress. With the examination of specific garments, and in relation with photographs and articles, we will try to explore how a garment can represent specific ideological and aesthetic pursuits of an era. Which was the context, the reasons and the purpose of this dress phenomenon in England and Greece? What was its relation with the dress reform efforts, the redefinition of taste and the formation of identities? By employing specific examples as a starting point, this paper will examine the questions mentioned above. Μυρσίνη Πήχου, Ανεξάρτητη Ερευνήτρια & Μέλος του Δ.Σ. της Ελληνικής Εταιρείας Ενδυμασιολογίας (ΕΛΛΑΔΑ), myrsini2@hotmail.com Αναζητώντας την καλαισθησία ή την εθνική ταυτότητα; Η επιρροή της κλασικής αρχαιότητας στη γυναικεία ένδυση στην Αγγλία και την Ελλάδα (τέλη 19 ου -αρχές 20 ού αιώνα)

9 Από τα τέλη περίπου του 19 ου αιώνα μέχρι την έναρξη του Πρώτου Παγκοσμίου Πολέμου παρουσιάζεται στην Αγγλία μια τάση στη γυναικεία ενδυμασία που αντλεί στοιχεία επιρροής από το ένδυμα της ελληνορωμαϊκής αρχαιότητας. Διαδεδομένη στους ανώτερους κοινωνικούς και καλλιτεχνικούς κύκλους, η τάση αυτή εμφανίζεται μέσα από πραγματικά ενδύματα, έντυπα και φωτογραφίες. Η ύπαρξη αντίστοιχων τεκμηρίων της ίδιας περιόδου στην Ελλάδα μας επιτρέπει να συμπεράνουμε την εμφάνιση της τάσης και στη χώρα μας. Εξετάζοντας συγκεκριμένα ενδύματα, σε συνδυασμό με φωτογραφίες και άρθρα, θα προσπαθήσουμε να διερευνήσουμε πώς μια ενδυμασία μπορεί να φέρει τις ιδεολογικές και αισθητικές αναζητήσεις μιας ολόκληρης εποχής. Ποιες ήταν οι συνθήκες, οι λόγοι και οι στόχοι της δημιουργίας του ενδυματολογικού αυτού φαινομένου στην Αγγλία και στην Ελλάδα; Ποια ήταν η σχέση του με την προσπάθεια μεταρρύθμισης της ενδυμασίας, του επαναπροσδιορισμού της καλαισθησίας και της διαμόρφωσης ταυτοτήτων; Mε αφετηρία συγκεκριμένα παραδείγματα, αυτά είναι τα κύρια ερωτήματα που θα εξετάσει η παρούσα ανακοίνωση. Luca Lo Sicco, Ph.D, Lecturer in Fashion Management and Marketing, School of Design, Faculty of Technology, Southampton Solent University (UK), Italian Haute Couture: First Attempts of Emancipation from France ( ) Ιταλική υψηλή ραπτική: Οι πρώτες απόπειρες χειραφέτησης από τη Γαλλία ( ) This study investigates the economic and social relevance of the textile industry in Italy in the first half of the 20 th century and the consequent stimulus to create an independent from France Italian fashion. The aim is to re-discover and acknowledge the work of those who started what we now know and study as the Italian Fashion system. Several examples such as Rosa Geroni, Simonetta Visconti, Sorelle Fontana, Emilio Schuberth, Jole Veneziani, Carosa, Vanna, Germana Marucelli, Vita Noberasco and Alberto Fabiani will be presented The paper analyses important previous studies and then conducts an investigation that centres on a series of Fashion houses that revel correlations between Rome, Florence and the Industry. This research will contribute to future investigations on similar topics as well as promote the teaching of History of Fashion.

10 Robert Doyle, C.M., Stage Designer, Founder and Director of the first Costume Studies Program at Dalhousie University in Halifax, Nova Scotia (CANADA), Dressed to Win: Competitive Clothing at the Modern Olympic Games and their Impact on World Fashions Ντυμένοι για τη νίκη: Το ανταγωνιστικό ένδυμα στους σύγχρονους Ολυμπιακούς Αγώνες και ο αντίκτυπός του στις μόδες του κόσμου While watching the speed skating competition at the Winter Games in Lillehammer, Norway I was taken by the extraordinary red body suit of speed skater Olaf Koss. For the first time since the ancient Olympics there was an athlete, for all the world appearing as naked as his ancient counterpart. Wearing his red one-piece elasticized suit, without the clutter of corporate logos to deface the sleek image; Olaf Koss streaked into Olympic history as he broke his own world records. I remained stunned for several minutes while I digested the image I had just witnessed. As a costume historian, it was a case of two images, one historic, the other of the present, morphing themselves into a new reality. It occurred to me that for the first time since Pierre de Fredi, baron de Coubertan conceived of an Olympic revival in 1892, that it was probably appropriate to assemble the myriad facets of the Modern Olympics to chart the route taken from 1896 to the present to illustrate the wisdom of Coubertan s dream; an exhibition to illustrate the innovative creative minds that have worked to make possible the spectacular performances of athletes in the ensuing century. And, to celebrate the magnificence of the special contribution to society that has been the legacy of the Modern Olympics. It was Adi Dassler of Germany however who founded the modern sporting goods industry, As an athlete and shoemaker he produced the first shoe that was designed specifically for the athlete thereby beginning the very successful field of sports goods manufacture. ADIDAS went on to create the first in a whole range of athletic tops and bottoms, complete with the very first logo, the three stripes which adorned all of their products. Much has been said about the Olympic Games and its value to a healthier society, however little has been offered to connect all the dots that give shape and dimension to the wider lifestyle of this same society; how for instance the simple knitwear machine, used originally for mass produced stockings, masculine and children s underwear now, used to produce a dazzling range of simply shaped clothing, much of it to be used by athletes but, judging by the passionate affection the public has for their star athletes, has now

11 been adapted by them for the larger public display, echoing a support that has in itself become a fashion statement. Chrysanthi Mantaka, Lecturer in Costume Design, Scenographer & Costume Designer, School of Drama, Faculty of Fine Arts, Aristotle University of Thessaloniki (GREECE), chmantak@thea.auth.gr Defining the Costume in the Russian avant-garde. The Archives of George Costakis, State Museum of Contemporary Art, Thessaloniki: Valuable and Structural Tools in Costume Designing Theatre Education The State Museum of Contemporary Art in Thessaloniki, shelters the most well-known Collection of works of Art of the Russian Avant- Garde, exhibited out of the Russian territory. The passionate Collector, George Costakis, managed to become the owner of 1275 works of art, the most representative of the famous modern Russian artists of the Avant-Garde, a movement that flourished the first decades of the 20 th century, influenced by political, philosophical and artistic theories. Along with the Collection, the Archives of George Costakis are kept and exhibited in the S.M.C.A. in Thessaloniki. There, are included some very rare and special Russian editions from the Avant-Garde period, an exclusively precious material for every serious student of the history of theatre costume. The survey and the research conveyed in the George Costakis Archives, brought to light elements and special characteristics of the theatre costume designing during the Russian Avant-Garde period that targeted to be promoted through a wider audience. The theatre costume of this period represents the object and an issue of special study for the theatre critics and the theorists, whose work is still found in the Archives of George Costakis. Through this work, one can observe the emerging and the re-definition of artistic and aesthetic theories, practically applied in the theatre performances of the first decades of the 20 th century, theories that can be evaluated and used in the teaching of theatre costume design. Χρυσάνθη Μάντακα, Σκηνογράφος-Ενδυματολόγος, Λέκτορας Ενδυματολογίας στη Σχολή Καλών Τεχνών, Τμήμα Θεάτρου του Αριστοτελείου Πανεπιστημίου Θεσσαλονίκης (ΕΛΛΑΔΑ), chmantak@thea.auth.gr Ορίζοντας το κοστούμι στη ρωσική πρωτοπορία. Η αξιοποίηση των πηγών από το Αρχείο Γιώργου Κωστάκη του ΚΜΣΤ στη διδακτική της θεατρικής ενδυματολογίας

12 Το Κρατικό Μουσείο Σύγχρονης Τέχνης στη Θεσσαλονίκη (ΚΜΣΤ) διαθέτει την πλουσιότερη συλλογή έργων της ρωσικής πρωτοπορίας εκτός Ρωσίας. Η περίφημη Συλλογή του Γιώργου Κωστάκη, παθιασμένου συλλέκτη ρωσικών έργων τέχνης, αριθμεί 1275 έργα σημαντικών καλλιτεχνών του κινήματος που άνθισε από το 1910 μέχρι το 1932, επηρεασμένου από ποικίλα αισθητικά, φιλοσοφικά και πολιτικά ρεύματα της εποχής. Παράλληλα, στο Μουσείο φυλάσσεται το Αρχείο του Γ. Κωστάκη, στο οποίο περιλαμβάνονται ορισμένες σπάνιες ρωσικές εκδόσεις της εποχής της πρωτοπορίας, ένα εξαιρετικά αξιόλογο υλικό για τον μελετητή της ιστορίας του θεατρικού κοστουμιού. Η έρευνα που πραγματοποιήθηκε στο Αρχείο Κωστάκη στοχεύει στο να προβάλει τα ιδιαίτερα χαρακτηριστικά της θεατρικής ενδυματολογίας στην εποχή της ρωσικής πρωτοπορίας σε ένα ευρύτερο κοινό. Το θεατρικό κοστούμι της εποχής αποτελεί αντικείμενο ειδικής μελέτης από τους τεχνοκριτικούς και θεωρητικούς του θεάτρου, έργα των οποίων διασώζονται στο Αρχείο Κωστάκη. Μέσα από τα έργα τους αναδύονται και επαναδιατυπώνονται αισθητικές θεωρίες που εφαρμόζονταν έμπρακτα στο θέατρο της εποχής και οι οποίες μπορούν να αξιοποιηθούν στη σύγχρονη διδακτική της θεατρικής ενδυματολογίας. Assimina Dimitroulopoulou, Architect-scenographer (DEA), Adjunct Lecturer, Department of Theatre Studies, Faculty of Fine Arts, University of Peloponnese (GREECE), Contemporary Scenic Approaches of Costume. The Role of Stage Dress-costume in Robert Wilson s Theatre Work Robert Wilson s theatre work has an important impact to the audience due to his well designed aesthetics. His aesthetics incorporate contemporary plastic arts and architecture and represents on stage the complex director s vision. Our announcement concerns the important role of the theatre costume and his appearance on stage as a part of the pluralistic stage environment in certain plays. Costumes, transformed in stage objects, capture the spectator and make him participate on stage with their personal architectural and sometimes severe presence. Costumes, designed by others, work within Wilson s aesthetic and they extend the role and elongate the movement of the actors. The form, the materials and their presence on stage are also important for the stage environment and the movement Ασημίνα Δημητρουλοπούλου, Αρχιτέκτονας-Σκηνογράφος (DEA), Διδάσκουσα στη Σχολή Καλών Τεχνών, Τμήμα Θεατρικών Σπουδών, Πανεπιστήμιο Πελοποννήσου (ΕΛΛΑΔΑ), skinikasid@yahoo.com

13 Σύγχρονες σκηνικές προσεγγίσεις του ενδύματος: Ο σκηνικός ρόλος του ενδύματος-κοστουμιού στις θεατρικές παραστάσεις του Robert Wilson Οι παραστάσεις του Robert Wilson έχουν τεράστια αισθητική σημασία και επιρροή. Η αισθητική αυτή επηρεάζεται αφενός από συγκεκριμένα ρεύματα των πλαστικών τεχνών και της αρχιτεκτονικής και αφετέρου κρύβεται πίσω από τη δική της έννοια της ποιητικής. Το θέατρο του Robert Wilson προτείνει μία σφαιρική και οικουμενική ματιά η οποία πηγάζει από τον πλουραλισμό της έμπνευσής και των τρόπων έκφρασής της. Η ανακοίνωση που επιθυμούμε να παρουσιάσουμε αφορά τον σημαντικό σκηνικό ρόλο του θεατρικού κοστουμιού και τη σκηνική του παρουσία στο πλουραλιστικό περιβάλλον του Robert Wilson σε συγκεκριμένες σκηνοθεσίες θεατρικών έργων. Στις παραστάσεις του Robert Wilson το κοστούμι συμμετέχει στη σκηνική δομή με τρόπο ώστε να διαδραματίσει σημαντικό ρόλο στο σκηνικό χώρο και χρόνο. Γίνεται ένα ακόμα σκηνικό αντικείμενο που τραβά το βλέμμα του θεατή με τέτοιο τρόπο ώστε να σχεδιάζει το δικό του «προσωπικό περιβάλλον», να σχεδιάζει τη δική του αρχιτεκτονική, λιτή παρουσία. Επίσης, μας ενδιαφέρει το κοστούμι ως τρόπος δημιουργίας του σκηνικού προσώπου, ο ρόλος του στη μεταμόρφωση του σώματος και στην ένταξή του στο σκηνικό χώρο. Θα παρουσιαστούν τέλος οι επιλογές της φόρμας και του υλικού σε σχέση με το σκηνικό περιβάλλον και την κίνηση και η σημασία του ρόλου του υλικού στη σκηνική σύνθεση. Παρόλο που τα κοστούμια δεν σχεδιάζονται από τον ίδιο τον Robert Wilson, όπως συμβαίνει με τον σκηνικό χώρο, τα αντικείμενα και τα φώτα, αλλά είναι αποτέλεσμα συνεργασίας, επιτυγχάνουν να δημιουργούν έναν κόσμο που εναρμονίζεται απόλυτα με το αισθητικό περιβάλλον της σκηνής. PART 2 ΕΝΟΤΗΤΑ 2 SOCIOLOGY OF COSTUME ΚΟΙΝΩΝΙΟΛΟΓΙΑ ΤΟΥ ΕΝΔΥΜΑΤΟΣ Linda Welters, Professor and Chair Person, Textiles, Fashion Merchandising and Design Department, University of Rhode Island (USA), lwelters@mail.uri.edu Keynote speech: Dress and Community: A Greek Example Βασική ομιλία: Ένδυμα και κοινότητα: Ένα ελληνικό παράδειγμα Many scholars have explored dress as an expression of identity. Dress is recognized as a form of communication that provides cues

14 to an individual s gender, race, age, sexuality, and ethnicity. More recently scholars have begun to examine dress as embodied practice. Few, however, have explored how dress is connected to geography, that is to say how it locates an individual as being from a recognizable place, and contributes to a sense of belonging to a community. Elsewhere I have argued that dress is a powerful tool that links a person to his or her world via one or more of the following five principles: 1. Locally available materials are used to make dress. 2. A specific style may emerge based on the collective physical needs of a region s inhabitants. 3. Unique local or regional words are employed to name an item of dress. 4. An individual uses dress to express identity with a community. 5. Dress serves to symbolize a place through memory and representation. In this presentation, I will further define the five principles and provide a detailed example of its application to the Delphi/Arachova area of Greece. This location is especially relevant because the Arachova costume is one of the better-known costumes in Greece; furthermore, Delphi was the site of the Delphi festivals in the 1920s, which enhanced the reputation of Arachova and Delphi as cultural sites. The research is based on fieldwork in the Boeotia and Phokida provinces. Peyman Matin, Anthropologist, Writer and Researcher, Board Member of the Department of Anthropology, The Center for the Great Islamic Encyclopaedia (IRAN), pmatin28@yahoo.com Costume: A Prominent Element to Recognize Iranians Ethnic Identity Ένδυμα: Ένα σημαντικό στοιχείο για την αναγνώριση της ιρανικής εθνικής ταυτότητας Iran (Persia) is a multicultural territory formed by different ethnic groups as various tribes and clans. Except Fars, people who are Shiite and speak in Persian, there are some main ethnic groups inhabit in Iran such as: Kurds, Lors, Turks, Baluch, Gilaks, Turkman, Arabs, Hazara and Tajiks. Always, the identity of these groups is determined with some wellknown elements like racial beliefs, language, religion and rituals, economic participations, geography and natural boundaries. These elements, usually, are criteria for a clear separation of these ethnic groups from each other. The aim of this article is re-identification prominent well-informed elements which often have been neglected in sociological and

15 anthropological studies, unfortunately. In this study- which went on among some Iranian ethnic groups in 13 provinces during 3 years, ethnographic methodologies have been used. In addition to description various kinds of men and women s headgears, footgear and garments, the political, ritual, functional and aesthetic aspects (and symbols) of some parts of these clothes have been analyzed. Recognition of traditional visual signs (for example costumes shape, size, colour and material) besides understanding of the hidden concepts with them, are the reasons why the costume is one of the most prominent well-informed elements of Iranian ethnic groups. In fact, costume is the most clear subject to segregate Iranian ethnic groups, so that, its function is very more objective than any other well-informed elements such as language religion, race beliefs, natural territory and so forth. Masoumeh Ebrahimi, Anthropologist, Head of the Department of Anthropology, The Center for the Great Islamic Encyclopaedia (IRAN), masomehebrahimi1977@gmail.com The Effects of Ideological-Religious Ideas on Iranian Dress Οι επιπτώσεις των ιδεολογικών και θρησκευτικών ιδεών στο ιρανικό ένδυμα Dress could be viewed in different aspects and investigated by various methods. One of these methods is study dress as a code and a language of symbolic signs. Dress in Iran could be like a ideological- religious code. Sometimes its shape, colour, material and the way of sewing have been mixed with religious beliefs. The aim of this article is making a profound investigation on religious and ideological aspects of some kinds of Iranian dresses such as Aba (a sleeveless outer garment), Ammama (turban) and Chador (a kind of veil) which represent their users' thoughts and ideologies. For example Chador has got a long history from ancient time till now. In ancient Persia Chador has been worn by nobles (men and women) in royal court, but in Islamic period women were obliged to wear Chador as a religious law based on rigid ideological interpreting of Quran verses. Until late Qajar dynasty Chador was official outdoor garment of women but in Reza Shah s era (1936) use of any veils including Chador was forbidden. That was for the new ideological viewpoint of government to Chador and other veils. Once again after Islamic revolution in Iran (1979) the Islamic ideologies got arisen and veils (especially Chador) became an obligatory official law. In this article by study of written historical and social sources (including old manuscripts) and some data from field works, the hidden concepts of these religious clothes (Chador, Aba, Ammama) have been investigated.

16 Corinne Thépaut-Cabasset, Researcher at the Château de Versailles (FRANCE), The Sun s Clothes: Dressing at Versailles Court Τα ενδύματα του Βασιλιά-Ήλιου: Η ένδυση στην Αυλή των Βερσαλλιών In 1669, the Sun King Louis XIV created at the French court, the new court office of the Great Master of the royal wardrobe. This new office takes place in the court etiquette, or court ceremonial, the Sun-King s label at Versailles court. The court Life is made of norm and use, and rules the King s dresses and his courtiers. Dressing for court is a ceremonial, a codification of uses and a show of conventional or non-conventional visual effects. The Justaucorps à brevet is an example of strict codification in clothing; it is a shape. The Livrées and court uniforms are the court s colours. Mark J R Dennis, Curator of the Library and Museum of Freemasonry London (UK), mdennis@freemasonry.london.museum Created neither by Church nor State The Development of Fraternal and Masonic Regalia as a Secular Form of Identity Statement Τα τεκτονικά διάσημα δεν δημιουργήθηκαν ούτε από την Εκκλησία ούτε από το Κράτος Η εξέλιξή τους ως κοσμική έκφραση ταυτότητας The development of secular membership organisations with ritual initiation and symbolic clothing is an international phenomenon. In the UK freemasonry is nearly 300 years old and the fraternal societies were the forerunners of trades unions and the welfare state In Greece freemasonry was introduced in 1811 from the UK and continues to the present. Its members participated in the Greek War of Independence and the organisation is not without controversy in the public imagination. Members of the Italian and French freemasons also met in the Hellenes and King George II was a freemason. The symbolism of fraternal organisations is exhibited on aprons, collars and sashes. It is elaborated with jewellery commemorating progression through the levels of ritual or rank. Fraternal regalia show a great diversity of manufacture from home made and embroidered to the commercially devised and marketed. It is a resource for folk art and iconography. The iconography of Masonic regalia combines symbolism with show and is dependent on the rites being worked. In Greece the York rite

17 has multiple levels, each with its distinct apron. The alternative system worked in Greece uses three initial ceremonies and then a number of additional ones worked optionally and in separate organisations. The paper will show the scope of fraternal costume with particular reference to Masonic Grand Lodges that have met in the Hellenes. Issues around display and interpretation will be discussed based on research carried out in museums around the UK. Sofia Pantouvaki, Ph.D, Scenographer, Adjunct Lecturer, Department of Theatre Studies, Faculty of Fine Arts, University of Peloponnese & Treasurer of the Hellenic Costume Society (GREECE), sofsceno@gmail.com Typology and Symbolism in Prisoners Concentration Camp Clothing during World War II Camp clothing, whether in a concentration, forced labour or extermination camp, served to dress and protect but also - and above all - to identify camp prisoners. Historical research describes official camp clothing, such as striped uniforms and coloured identification symbols (for instance triangles and stars). Nonetheless, when the Auschwitz camps were liberated by Soviet troops on January 27, 1945, items of women s clothing, items of men s clothing and pairs of shoes were found alongside other personal effects. All of these items of clothing served to dress prisoners at the height of the war, when the rhythm of extermination had become so rapid that earlier official procedures could no longer be adhered to. At this point, civilian garments proved to be valuable for the purpose of clothing camp prisoners, after they had been processed according to Nazi officials orders, thus making this attire into a symbol - a new, improvised, type of prisoner dress. This paper investigates different types of clothing used for men and women in the Auschwitz camps or en route from Auschwitz to other Nazi camps during World War II. In particular, it aims to describe the elements used to identify prisoners dressed in civilian clothing. Unknown examples of these uniforms as well as methods used to identify prisoners are brought to light. Furthermore, aspects of former inmates personal experience are analysed, as resulting from this preliminary stage of a longer research project. All research is based on bibliographical and archival material, as well as on personal interviews with camp survivors conducted for the purpose of this study. Σοφία Παντουβάκη, Διδάκτωρ, Σκηνογράφος, Διδάσκουσα στη Σχολή Καλών Τεχνών, Τμήμα Θεατρικών Σπουδών, Πανεπιστήμιο

18 Πελοποννήσου & Ταμίας της Ελληνικής Εταιρείας Ενδυμασιολογίας (ΕΛΛΑΔΑ), Τυπολογία και συμβολισμοί στην ένδυση των κρατουμένων στα στρατόπεδα συγκέντρωσης κατά τον Δεύτερο Παγκόσμιο Πόλεμο Τα ενδύματα των στρατοπέδων, είτε επρόκειτο για στρατόπεδα συγκέντρωσης, είτε καταναγκαστικής εργασίας ή εξόντωσης, χρησίμευαν για την ένδυση και την προστασία των κρατουμένων, αλλά επίσης πάνω απ όλα για την ταύτιση των φυλακισμένων στο στρατόπεδο. Η ιστορική έρευνα περιγράφει τον επίσημο ρουχισμό των στρατοπέδων, όπως για παράδειγμα, τις ριγέ στολές και τα χρωματιστά διακριτικά σύμβολα (π.χ. τρίγωνα και αστέρια). Μολαταύτα, κατά την απελευθέρωση των κρατουμένων στο Άουσβιτς από τους Σοβιετικούς στις 27 Ιανουαρίου 1945, τεμάχια γυναικείου ρουχισμού, τεμάχια ανδρικού ρουχισμού και ζευγάρια παπούτσια βρέθηκαν μαζί με άλλα προσωπικά αντικείμενα που διασώθηκαν. Όλα αυτά τα είδη χρησιμοποιούνταν για την ένδυση των φυλακισμένων την περίοδο της κορύφωσης του πολέμου, όταν ο ρυθμός εξόντωσης ήταν τόσο εντατικός που οι πρότερες επίσημες διαδικασίες δεν μπορούσαν πια να εφαρμοστούν. Εκείνη τη χρονική περίοδο, τα πολιτικά ενδύματα αποδείχθηκαν πολύτιμα για την ένδυση των κρατουμένων, αφότου υπόκειντο σε «επεξεργασία» με βάση τις εντολές των ναζιστικών αρχών και μετατρέπονταν έτσι σε συμβολικά ενδύματα: σε ένα νέο, αυτοσχέδιο τύπο ένδυσης κρατουμένου. Η ανακοίνωση διερευνά τους διαφορετικούς τύπους ρουχισμού που χρησιμοποιήθηκαν από άνδρες και γυναίκες στα στρατόπεδα του Άουσβιτς ή κατά την αποστολή κρατουμένων από το Άουσβιτς σε άλλα ναζιστικά στρατόπεδα στη διάρκεια του Β Παγκοσμίου Πολέμου. Πιο συγκεκριμένα, περιγράφονται τα στοιχεία που χρησιμοποιούνταν για τη διάκριση των κρατουμένων που ήταν ντυμένοι με πολιτικά ρούχα. Αναδεικνύονται άγνωστα παραδείγματα αυτών των «στολών» καθώς και μέθοδοι που χρησιμοποιούνταν για την ταύτιση των κρατουμένων. Επίσης, αναλύονται πτυχές της προσωπικής εμπειρίας πρώην κρατουμένων, όπως προκύπτουν από το πρώτο αυτό στάδιο ανάλυσης της τρέχουσας έρευνας σχετικά με τα ενδύματα κρατουμένων στα στρατόπεδα συγκέντρωσης. Η έρευνα βασίζεται σε βιβλιογραφικό και αρχειακό υλικό, καθώς και σε προσωπικές συνεντεύξεις επιζώντων των στρατοπέδων, οι οποίες πραγματοποιήθηκαν για τους σκοπούς της μελέτης. Christina Bates, Curator, Canadian Museum of Civilization (CANADA),

19 Visual and Material Approaches to the Nurse s Cap and its Rituals Το καπελάκι της νοσοκόμας και η τελετουργική του χρήση. Προσεγγίσεις των οπτικών σπουδών και των σπουδών του υλικού πολιτισμού The nurse s cap is one of the most evocative garments ever associated with an occupational group. The cap has inspired poems and folklore, pride and sometimes loathing, as well as its own rituals such as the capping ceremony. This paper will explore this familiar, but curious, headwear through the methodologies of visual and material culture. Caps and other body adornment are in a category of material culture that arguably has the greatest potential for exploring personal, social and occupational identity and values. The cap was not just a symbol, but an active participant in the formation of institutional and personal mentalities: Uniforms seem to wear the body and produce certain performances. Nurses internalized the values of order and cleanliness every time they wore the cap. Nurses caps and uniforms reveal the construction of a unique ideal of femininity within the masculine structure of the hospital. As this ideal was challenged later in the twentieth century the meaning of the cap and its rituals faded, only to recently re-emerge. For over one-hundred years the cap perched on thousands of heads, encapsulating the culture and contradictions of nursing. Aude Le Guennec, Fashion Historian Consultant & Teacher of Fashion History, University of Angers (FRANCE), aleguennec@villecholet.fr Children s Fashion: Children and Society, 18 th 21 th Centuries Η παιδική μόδα: Παιδιά και κοινωνία, 18 ος -21 ος αι. In spite of an important representation of children s clothes in the collections of the fashion museums, children s fashion stays a not very well known and studied domain. The collections of children s clothes are often less documented, exhibitions on children s fashion are few in the fashion museums, and publications on this subject stay rare according to the extensive bibliography on fashion. Considering this lack of knowledge about children's fashion, I've started a PhD research on this subject, at the University of Paris- Sorbonne. Based on a corpus of items dated from the middle of the 18 th Century onwards, and selected in occidental fashion museum collections, this research will try to find out the way children's clothes are part of the education of the child and help children to enter the adult's society. Compared to testimonies and other sources, the items of this corpus will help us to understand the way

20 children are considered by the society through history. And, through the study of children's ward-robes made by their parents, we will be able to understand one the social aspects of the mechanisms of fashion. This research will put up against the interest of children s fashion to understand the way our society looks at children, and the evolution of the social importance that adults give to them. The question of the evolution of his social position related to the evolution of children s fashion, the similarity or non-similarity between children s clothes styles and adults fashion, will constitute one of the items of my investigation. The present lecture will focus on the different aspects of my research and will try to explain the importance of the study of items, cloths, objects, to understand fashion and society. Abby Lillethun, Ph.D, Associate Professor, Fashion Studies, Montclair State University, New Jersey (USA), lillethuna@mail.montclair.edu Nontsikelelo Veleko s Photography: World Fashion in South Africa Η φωτογραφική τέχνη του Nontsikelelo Veleko: Παγκόσμια μόδα στη Νότια Αφρική The presentation examines and interprets the photography of Nontsikelelo Veleko, an artist working in South Africa whose subject matter portrays African urban identity. Veleko s color photographs of Johannesburg and Cape Town Street fashions capture the engagement of city youths with world fashion. Her work was included in Snap Judgments, at the International Center for Photograpahy (ICP) in New York (2006), and at the Danziger Projects, New York, in Seydou Keita and Lolo Veleko. She recently held a residency at the International Photography Research Network (IPRN), London. While critically analyzing Veleko s art, I will also use the work as a case study of the phenomenon of world fashion in the early-21 st century. Joanne Eicher, et al. (2008) propose world fashion as the worldwide adoption of modes of dress that are the same. Yet, in practice, world fashion varies according to the modes of dress specific to places or locales. Thus, Veleko s work portrays the idiosyncratic construction of identity within particular African places while offering an opening to further define the operation of fashion in the global space. Erica de Greef, Head of Research at LISOF, Johannesburg (SOUTH AFRICA), erica@lisof.co.za