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Готові списки джерел за темами / Fashion and art

Добірка наукової літератури з теми "Fashion and art"

Автор: Grafiati

Опубліковано: 4 червня 2021

Оновлено: 29 липня 2024

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Статті в журналах з теми "Fashion and art"

1

Miller, Sanda. "Fashion as Art; is Fashion Art?" Fashion Theory 11, no. 1 (March 2007): 25–40. http://dx.doi.org/10.2752/136270407779934551.

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2

Kim, Sung Bok. "Is Fashion Art?" Fashion Theory 2, no. 1 (February 1998): 51–71. http://dx.doi.org/10.2752/136270498779754515.

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3

Collins, Vishna. "Art and fashion." Australasian Journal of Popular Culture 5, no. 2 (September 1, 2016): 165–85. http://dx.doi.org/10.1386/ajpc.5.2-3.165_1.

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4

Koivisto, Elina, and Pekka Mattila. "MARKETING FASHION AS ART OR THE ART OF MARKETING FASHION?" Global Fashion Management Conference 2019 (July 11, 2019): 677. http://dx.doi.org/10.15444/gfmc2019.06.07.02.

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5

Jung, Hojin, and Hosup Kan. "Taoistic Fashion Aesthetics in Art Deco Fashion." Journal of the Korean Society of Costume 69, no. 1 (January 31, 2019): 127–40. http://dx.doi.org/10.7233/jksc.2019.69.1.127.

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6

Varol, Esra. "The relationship of fashion and art and art literacy of the students of the department of fashion design." New Trends and Issues Proceedings on Humanities and Social Sciences 2, no. 1 (February 19, 2016): 437–52. http://dx.doi.org/10.18844/gjhss.v2i1.328.

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7

Beltrán-Rubio, Laura. "Reading Fashion in Art." Dress 47, no. 1 (January 2, 2021): 103–5. http://dx.doi.org/10.1080/03612112.2021.1872973.

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8

Durst, Elizabeth. "Russian Art Nouveau Fashion." Experiment 7, no. 1 (2001): 209–32. http://dx.doi.org/10.1163/2211730x-00701009.

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9

Filieri, Juri, Elisabetta Benelli, and Francesca Filippi. "Fashion Design and Art." Fashion Highlight 1, no. 1 (July 31, 2023): 88–95. http://dx.doi.org/10.36253/fh-2265.

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Анотація:

Observing the 20th century, it becomes clear how much the definition of fashion as an inferior reflection of art is definitively outdated, in favour of a more complex and equitable relationship of mutualistic inference that places fashion within the ranks of the arts of modernity. Fashion has always utilised art in its rhetoric and draws on an innumerable series of expressions and idioms, contending with art for the esteem and social prominence accorded to high culture. The granted and denied relationship with time appears central in the definition of similarities and differences, essential to understanding mutual inferences and distinctive qualities in today’s increasingly complex and nuanced picture. While fashion constantly seeks (otherwise risking its very existence) a vector of engagement with the real experience of the public and with time (“con-tempo-raneo”), art lives on visionary paradoxes, on a higher spiritual need, translated into form.

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10

Kaiser, Susan B., and Anneke Smelik. "Encounters: Fashion and beauty, fashion and art, fashion and social justice." Critical Studies in Fashion & Beauty 13, no. 2 (December 1, 2022): 199–206. http://dx.doi.org/10.1386/csfb_00045_2.

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Анотація:

We propose a thought experiment to introduce the three articles in this volume, focusing specifically on fashion’s encounters with beauty, art and social justice, respectively. Using a both/and approach, we consider the ways in which ‘encounters’ encourage open questioning and debate, when one pairs fashion with beauty, fashion with art and fashion with social justice. Rather than framing the concepts in these pairs oppositionally, we argue that encounters become possible because they resonate or echo – conceptually, aesthetically or affectively – in ways that are nonbinary and nonlinear. As a result, new provocations and lines of inquiry can emerge.

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Дисертації з теми "Fashion and art"

1

Mosina, E. O. "Abstract vision in fashion." Thesis, Київський національний університет технологій та дизайну, 2018. https://er.knutd.edu.ua/handle/123456789/11355.

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2

Dorosh, Daria. "Patterning : the informatics of art and fashion." Thesis, University of East London, 2007. http://roar.uel.ac.uk/1236/.

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Анотація:

The latter half of the 20th century saw a massive transition from the analogue way of life to the digital. This thesis compares and contrasts two sets of binary patterns in this transition: the 'grid' and the 'loop', and 'representation' and 'abstraction'. My field of knowledge is Contemporary Conceptual Art practice, and the overlapping areas between three major disciplines: post-1970s visual art, fashion design and production, and digital media tools. The method is process-art analysis, in practice and theory. The thesis looks at several art and fashion case studies engaged with new media and shows that 'Informatics' also shares patterns with these emerging trends. The thesis argues that an important shift in the surface and structure of art and fashion and dynamic patterns in these fields can be relevant to others working in cognate disciplines concerned with patterns of thinking, imaging and coding: i. e., Philosophy, Media Theory, and Computer Science. New insights can be gained from a cross-disciplinary field of vision in this regard. The broad questions addressed in the research are: " Is there a vocabulary of pattern emerging between disciplines? " Why do 'grid, 'loop', 'representation' and 'abstraction' emerge repeatedly as patterns across such a wide set of disciplines: from fashion and art to brain science and pattern mapping in computer science? What can we learn from documenting the apparent shift between product and process in these distinct fields? The research concludes that the patterns in art, fashion, science, and technology all show that we are in a transition from a product-based culture to a process-oriented one. In that spirit, the conclusion projects a collaborative future for fashioning culture.

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3

Björling, Sofia. "Ethnic fashion : begrepp i förändring." Thesis, Högskolan på Gotland, Institutionen för humaniora och samhällsvetenskap, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hgo:diva-748.

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Анотація:

Syftet med denna studie är att se på hur begreppet etniskt mode används i praktiken inom dagens modejournalistik och inom den mode- och dräkthistoriska litteraturen, med utgångspunkt i hur etniskt mode och dräkt presenteras i forskningen. Etniskt mode som idag är ett väl använt begrepp som visar sig ha många olika innebörder. För det har visat sig att man med begreppet etniskt mode menar olika saker inom forskningen respektive inom mode- och dräkthistoriska översiktsverk samt inom modejournalistiken.

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4

LIU, MINGYUAN. "Disabled: Media, Fashion and Identity." Thesis, Sydney College of the Arts, 2019. http://hdl.handle.net/2123/20106.

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5

Edwards, Jennifer Somerville 1967. "Louise Dahl-Wolfe: A fashion photographer redefined." Thesis, The University of Arizona, 1996. http://hdl.handle.net/10150/291450.

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Анотація:

Dahl-Wolfe (1895-1989) is best-known as a fashion photographer, her photographic life encompassed a pattern of art and documentary ideas interwoven over a forty-year period. This thesis describes her early art influences and explores her photography career in regards to the historical and cultural developments from World War I through the 1950s. Dahl-Wolfe is compared with her contemporaries such as Consuelo Kanaga, Dorothea Lange, Edward Weston, Richard Avedon, and Henri Cartier-Bresson. The study reveals how Dahl-Wolfe's work reflects photography's evolution over a specific period and how traditional constructions affect the reception of commercial photographers. Conclusively, Dahl-Wolfe's oeuvre straddles such an array of constructed arenas that she virtually fell through the cracks and has been narrowly defined as a result of art historical definitions.

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6

Gaudyn, Weronika. "Study of Haute Couture Fashion Shows as Performance Art." University of Akron / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=akron1543249777154531.

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7

Eriksson, Kajsa G. "Concrete fashion : dress, art, and engagement in public space /." Göteborg : HDK, School of Design and Crafts, Faculty of Fine, Applied and Performing Arts, University of Gothenburg, 2009. http://hdl.handle.net/2077/21545.

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8

Lava, Valentina <1996&gt. "Between Art and Fashion. The World of Roberto Capucci." Master's Degree Thesis, Università Ca' Foscari Venezia, 2022. http://hdl.handle.net/10579/21226.

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Анотація:

Prima del prêt-à-porter e della produzione di massa di prodotti d’abbigliamento, il sistema moda era caratterizzato dalla figura artigianale del sarto. Roberto Capucci è il simbolo di quel periodo storico. Da sempre, ha rappresentato l’esempio di uno stilista che ha dedicato gran parte della sua carriera non ai dettami del branding o dell’imprenditorialità, bensì ad una libera espressione della sua creatività creando modelli iconici capaci di rappresentare la sua educazione artistica, ispirandosi o seguendo alcuni movimenti artistici. Il suo percorso creativo lo portò alla reazione delle sue sculture in tessuto, rendendolo il trait d’union tra l’arte e la moda. L’intendo della presente tesi è condurre uno studio sulla carriera del Maestro Capucci, analizzando le diverse fasi della sua produzione artistica. Dopo un’introduzione della storia della moda italiana degli anni del 1940 e 1950, verrà introdotta la figura di Roberto Capucci. L’analisi seguirà uno schema sia cronologico che tematico, dove verranno analizzati gli anni più importanti per la sua produzione artistica, insieme a due elementi chiave dei suoi abiti: la forma e il colore. Un’attenzione particolare verrà posta anche alla sua entrata nel mondo dell’arte, quando, invitato dai più prestigiosi musei, iniziò ad esporre le sue creazioni. Lo studio è arricchito dai ricordi del Maestro, raccolti in un’intervista rilasciata per questa ricerca e da materiali storici, alcuni inediti, custoditi dalla Fondazione Roberto Capucci.

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9

Tolley, Rebecca. "Review of Fashion's Front Line: Fashion Show Photography from the Runway to Backstage." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/5622.

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10

Kay, Lacey. "Fashionable Art." BYU ScholarsArchive, 2012. https://scholarsarchive.byu.edu/etd/3337.

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Анотація:

My final thesis exhibition, Fashionable Art, opens up a link between art and fashion. I used clay as my primary medium to create hyper-realistic handbags in the style of Trompe l'oeil. I am interested in placing art in fashion settings and fashion in art settings. In the show, I placed many purses on pedestals for a gallery setting, in a glass case for a purse shop setting and also placed large photos in a fashion photo shoot setting. I am concerned with creating an environment that celebrates the handbag from just an accessory to an art object. By using clay as my primary media, the purse becomes a more permanent representation. I am able to freeze in time a small piece of our cultural timeline. I am interested in creating these hyper-realistic works because I want the viewer to be led into thinking these are real purses and to explore the idea of fashion being more than just a piece of clothing or accessory, but also the history and affect it has on each of us, big or small.

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Книги з теми "Fashion and art"

1

Germano, Celant, and Guggenheim Museum Soho, eds. Art/fashion. New York: Distributed Art Publishers, 1997.

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2

Lussier, Suzanne. Art deco fashion. Boston: Bulfinch Press, 2003.

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3

Gersten, Rita. Fashion art for the fashion industry. New York: Fairchild Publications, 1989.

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4

Weber, Edith. Art nouveau & art deco fashion postcards. Atglen, PA: Schiffer Pub., 2009.

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5

Leng, Fong. Fong Leng: Fashion & art. Amsterdam: Amsterdam Museum, 2013.

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6

Pollard, Louise. Art Deco fashion & design. [Derby]: Derbyshire College of Higher Education, 1988.

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7

Dillman, Meredith. Fantasy fashion art studio. Cincinnati, OH: Impact Books, 2013.

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8

Lucy, Orta, GlaxoSmithKline, and Royal Academy of Arts (Great Britain), eds. Aware: Art fashion identity. Bologna, Italy: Damiani, 2010.

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9

Michel, Molinare, ed. A fashion for extravagance: Art deco fabrics and fashions. New York: Dutton, 1985.

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10

Davis-Evans, Pat. Computer art for fashion designers. Los Angeles: Tsunami Publishers, 2001.

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Частини книг з теми "Fashion and art"

1

Weinstein, Jeff. "Is Clothing Art?" In Fashion Statements, 69–72. New York: Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230115408_10.

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2

Adburgham, Alison. "Neo Art Nouveau." In View of Fashion, 247–48. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003361398-94.

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3

Karra, Neri. "Fashion, art, and beauty (1895–1914)." In Fashion Entrepreneurship, 47–70. London: Routledge, 2021. http://dx.doi.org/10.4324/9781315458779-4.

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4

Noury, Larissa. "Art and Fashion Color Design." In Encyclopedia of Color Science and Technology, 1–4. Berlin, Heidelberg: Springer Berlin Heidelberg, 2015. http://dx.doi.org/10.1007/978-3-642-27851-8_262-2.

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Noury, Larissa. "Art and Fashion Color Design." In Encyclopedia of Color Science and Technology, 1–4. Berlin, Heidelberg: Springer Berlin Heidelberg, 2020. http://dx.doi.org/10.1007/978-3-642-27851-8_262-3.

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6

Negrin, Llewellyn. "Body Art and Men’s Fashion." In Appearance and Identity, 97–115. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230617186_6.

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Noury, Larissa. "Art and Fashion Color Design." In Encyclopedia of Color Science and Technology, 54–57. New York, NY: Springer New York, 2016. http://dx.doi.org/10.1007/978-1-4419-8071-7_262.

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8

Noury, Larissa. "Art and Fashion Color Design." In Encyclopedia of Color Science and Technology, 55–58. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-030-89862-5_262.

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9

Tarasov, Oleg. "1. Fashion, Taste and Form." In How Divine Images Became Art, translated by Stella Rock, 11–44. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0378.01.

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Анотація:

The basic theme of this chapter is the new Formalist theory of art and connoisseurship, and its influence on the study and collecting of early icons and ‘primitives’ in Russia, Italy, England and the United States of America.

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10

Okonkwo, Uche. "The art of creating and managing luxury fashion brands." In Luxury Fashion Branding, 102–77. London: Palgrave Macmillan UK, 2007. http://dx.doi.org/10.1007/978-0-230-59088-5_6.

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Тези доповідей конференцій з теми "Fashion and art"

1

Feng, Ranran, and Balakrishnan Prabhakaran. "Facilitating fashion camouflage art." In the 21st ACM international conference. New York, New York, USA: ACM Press, 2013. http://dx.doi.org/10.1145/2502081.2502121.

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2

Qia Zhang. "Chinese symbols in POP fashion art." In 2009 IEEE 10th International Conference on Computer-Aided Industrial Design & Conceptual Design. IEEE, 2009. http://dx.doi.org/10.1109/caidcd.2009.5375352.

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3

Wei, Runjia. "Fashion and Intersectionality." In 2021 International Conference on Education, Language and Art (ICELA 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220131.143.

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4

Tosa, Naoko, Harumi Kawamura, Miwa Rokudo, and Ryohei Nakatsu. "Statistical Analysis of Preferences for Art Fashion." In 2023 Nicograph International (NicoInt). IEEE, 2023. http://dx.doi.org/10.1109/nicoint59725.2023.00029.

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5

Юрасовская, Н. М. "RUSSIAN TRACE IN THE FINE ART OF ART DECO." In Месмахеровские чтения — 2024 : материалы междунар. науч.-практ. конф., 21– 22 марта 2024 г. : сб. науч. ст. / ФГБОУ ВО «Санкт-Петербургская государственная художественно-промышленная академия имени А. Л. Штиглица». Crossref, 2024. http://dx.doi.org/10.54874/9785605162926.2024.10.27.

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Анотація:

Декоративный стиль ар-деко, родившийся во Франции как шикарный fashion- style в 1910–1930-х гг., занял все уровни проектирования жизненной среды от моды, рекламы, дизайна интерьеров и техники — до архитектуры небоскребов, кинофильмов, музыкальных ораторий, а также произведений изобразительного искусства. Немалую роль в формировании и развитии ар-деко сыграли русские художники первой трети ХХ в. Среди них важное место занимали представители отечественной эмиграции первой волны, уехавшие в годы революции из России уже состоявшимися мастерами. Долгое время в Советском Союзе они оказывались за пределами внимания историков искусства. Art Deco decorative style, born in France as a chic fashion- style, in 1910–30-ies occupied all, levels of design of the living environment from fashion, advertising, interior design and technology — to the architecture of skyscrapers, films, musical oratorios, as well as works of fine art art. Russian artists of the fi rst third of the twentieth century played a significant role in the formation and development of Art Deco. Among them, an important place was occupied by representatives of the first wave of domestic emigration, who left Russia during the years of the revolution as already accomplished masters. For a long time in the Soviet Union they were beyond the attention of art historians.

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Kawamura, Harumi, Yuki Nemoto, Saeko Maruyama, Akiko Kozai, Naoko Tosa, and Ryohei Nakatsu. "Development of Art Fashion by Integrating Digital Art and Digital Textile Printing." In 2022 Nicograph International (NicoInt). IEEE, 2022. http://dx.doi.org/10.1109/nicoint55861.2022.00012.

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Kharbanda, Mohina, and Nikesh Bajaj. "An exploration of fractal art in fashion design." In 2013 International Conference on Communications and Signal Processing (ICCSP). IEEE, 2013. http://dx.doi.org/10.1109/iccsp.2013.6577048.

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Martins, Leilane Rigatto, and Sérgio Régis Moreira Martins. "Hybridization between Fashion and Art and Aesthetics Renovation." In 9th Conference of the International Committee for Design History and Design Studies. São Paulo: Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/despro-icdhs2014-0017.

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Xu, Huijie. "Female Identity and Construction in Fashion—Based on Simmel’s fashion philosophy." In proceedings of the 2nd International Conference on Literature, Art and Human Development (ICLAHD 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201215.437.

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Pale, Predrag. "ART AND SCIENCE OF CROSSDRESSING." In 10th SWS International Scientific Conferences on SOCIAL SCIENCES - ISCSS 2023. SGEM WORLD SCIENCE, 2023. http://dx.doi.org/10.35603/sws.iscss.2023/sv07.13.

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Анотація:

Alternative lifestyles, gender identities and fashion statements are gaining theirlegitimacy in mainstream social life in many cultures. However, even in those marginalsocial circles (LGBTIA+) there are inequalities where crossdressers are at the verybottom of perceived social status. As a result, crossdressing has not been studiedsufficiently neither from scientific nor from artistic viewpoint. Scientific researchpublications mentioning crossdressing are mostly addressing literature, film and theatreaspects of crossdressing, anthropological and some social aspects. Crossdressing ispresented in mainstream media as a very marginal activity of a small number of peculiarindividuals. In the past, health professionals have long considered ways to curecrossdressing and today are focused on helping resolve dysphoria and other sufferingscaused by societies� reaction to crossdressing. Virtually there are no publicationsanalyzing or discussing potential benefits of crossdressing both for the individual andsociety, nor the aesthetical aspects in fashion industry and society in general. Fashion ishighly expressive and research shows that the way humans dress influences not onlymessages they send to others, but also how they feel themselves, especially how theyfeel about themselves. However there is also no research published exploring possibleartistic benefits of crossdressing. This paper presents results of interpretativephenomenological analysis of potential crossdressing benefits. It also discusses socialaesthetical habits and consequential aesthetical blindness established in modern westernsociety. Paper also aims at proposing some new views on scientific and artistic aspectsof crossdressing and indicating possible venues for future research from bothperspectives.

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Звіти організацій з теми "Fashion and art"

1

Lapolla, Kendra, Jaclyn Gordyan, and Brian Lapolla. Critiquing Design Aesthetics in Collaborative Fashion Creation: Design Conversations with a Fashion Designer, an Architect, and Art Director. Ames: Iowa State University, Digital Repository, 2014. http://dx.doi.org/10.31274/itaa_proceedings-180814-901.

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2

Gorea, Adriana, and Katya Roelse. Criteria Decision Matrix Applied to Pedagogy: A Pilot Study for Fashion Art Studio. Ames: Iowa State University, Digital Repository, November 2015. http://dx.doi.org/10.31274/itaa_proceedings-180814-1134.

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3

Leslie, Catherine Amoroso, and Diane G. Scillia. Northern Renaissance: Art and the Birth of Fashion, a collaborative progression from multidisciplinary through interdisciplinary to transdisciplinary. Ames: Iowa State University, Digital Repository, 2017. http://dx.doi.org/10.31274/itaa_proceedings-180814-367.

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4

DePhillips, Alison, and Jihyeong Son. Millennials' Fashion Consumption: Who Are Fashion Opinion Leaders in Social Media? Ames: Iowa State University, Digital Repository, 2017. http://dx.doi.org/10.31274/itaa_proceedings-180814-1813.

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5

Kennedy Benson, Samii, and Eulanda Sanders. Where Are All The Black Female Fashion Designers? Ames: Iowa State University, Digital Repository, 2017. http://dx.doi.org/10.31274/itaa_proceedings-180814-316.

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6

Hiller Connell, Kim Y., Cosette M. Armstrong, Melody LeHew, Mary Ruppert-Stroescu, and Jana Hawley. “You are Doing What?” Motivations for Fashion Acquisition Abstinence. Ames: Iowa State University, Digital Repository, 2013. http://dx.doi.org/10.31274/itaa_proceedings-180814-881.

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7

Martin, Kathi, Nick Jushchyshyn, and Claire King. James Galanos, Wool Evening Suit. Fall 1984. Drexel Digital Museum, 2018. http://dx.doi.org/10.17918/6gzv-pb45.

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Анотація:

The URL links to a website page in the Drexel Digital Museum (DDM) fashion image archive containing a 3D interactive panorama of an evening suit by American fashion designer James Galanos with related text. This evening suit is from Galanos Fall 1984 collection. The skirt and bodice of the jacket are black and white plaid wool. The jacket sleeves are black mink with leather inserts that contrast the sheen of the leather against the luster of the mink and reduce some of the bulk of the sleeve. The suit is part of The James G. Galanos Archive at Drexel University gifted to Drexel University in 2016. The panorama is an HTML5 formatted version of an ultra-high resolution ObjectVR created from stitched tiles captured with GigaPan technology. It is representative the ongoing research of the DDM, an international, interdisciplinary group of researchers focused on production, conservation and dissemination of new media for exhibition of historic fashion.

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8

Martin, Kathi, Nick Jushchyshyn, and Claire King. James Galanos, Silk Chiffon Afternoon Dress c. Fall 1976. Drexel Digital Museum, 2018. http://dx.doi.org/10.17918/q3g5-n257.

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Анотація:

The URL links to a website page in the Drexel Digital Museum (DDM) fashion image archive containing a 3D interactive panorama of an evening suit by American fashion designer James Galanos with related text. This afternoon dress is from Galanos' Fall 1976 collection. It is made from pale pink silk chiffon and finished with hand stitching on the hems and edges of this dress, The dress was gifted to Drexel University as part of The James G. Galanos Archive at Drexel University in 2016. After it was imaged the gown was deemed too fragile to exhibit. By imaging it using high resolution GigaPan technology we are able to create an archival quality digital record of the dress and exhibit it virtually at life size in 3D panorama. The panorama is an HTML5 formatted version of an ultra-high resolution ObjectVR created from stitched tiles captured with GigaPan technology. It is representative the ongoing research of the DDM, an international, interdisciplinary group of researchers focused on production, conservation and dissemination of new media for exhibition of historic fashion.

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9

Ju, Hae Won, and Kim K. P. Johnson. Who Are Fashion Brand Fans? An Investigation of Antecedents and Outcomes of Brand Commitment. Ames: Iowa State University, Digital Repository, 2013. http://dx.doi.org/10.31274/itaa_proceedings-180814-498.

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10

Martin, Kathi, Nick Jushchyshyn, and Claire King. James Galanos Evening Gown c. 1957. Drexel Digital Museum, 2018. http://dx.doi.org/10.17918/jkyh-1b56.

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Анотація:

The URL links to a website page in the Drexel Digital Museum (DDM) fashion image archive containing a 3D interactive panorama of an evening suit by American fashion designer James Galanos with related text. This evening gown is from Galanos' Fall 1957 collection. It is embellished with polychrome glass beads in a red and green tartan plaid pattern on a base of silk . It was a gift of Mrs. John Thouron and is in The James G. Galanos Archive at Drexel University. The panorama is an HTML5 formatted version of an ultra-high resolution ObjectVR created from stitched tiles captured with GigaPan technology. It is representative the ongoing research of the DDM, an international, interdisciplinary group of researchers focused on production, conservation and dissemination of new media for exhibition of historic fashion.

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