British Fashion History circa

British Fashion History circa 1580-2000 Class code Instructor Details Dr Clare Backhouse A contact telephone number for field trips will be given in class Office hour: 5-6 pm Wednesday Class Details British Fashion History Wednesdays 2-5 pm Location to be confirmed. Prerequisites There are no prerequisites for the class Class Description This course offers a survey of some key aspects of fashionable dress in Britain from the late sixteenth century to the close of the twentieth century. We will examine selected features of producing, consuming and representing dress, relating important shifts in fashion to historical developments in areas such as trade, politics and visual culture. Students will study examples of historical clothing as well as depictions of it, becoming familiar with a variety of methodological approaches. The majority of classes will take place in Bedford Square and be formed of lectures, class activities, discussion of set readings, and student presentations. Four classes will take place on location within important collections of British dress, where students will examine historical garments with museum curators. Desired Outcomes By the end of the course, students will: 1. Be able to identify important features of fashionable dress in Britain, circa 1580-2000, and relate them to a wider historical context 2. Have developed their ability to present independent analysis of primary and secondary sources relevant to dress history, both verbally and in writing 3. Be familiar with a variety of scholarly approaches to dress history Page 1 of 13

Assessment Components - Two x 2000-word written essays, the first due on 16 October and the second on 4 December (25% each essay, together representing 50% of the total assessment) - Two x 5-minute oral class presentations, of c.1000 words each, on two dates to be arranged in class (15% each presentation, together representing 30% of the total assessment) - Attentiveness to, and engagement with, the presentations of museum curators and fellow students will represent 20% of each student's total assessment. This mark includes preparatory musem visits made by students in advance of study sessions and participation in the discussion of readings in class. Failure to submit or fulfil any required course component results in failure of the class. Assessment Expectations Excellent essays and presentations will have clear focus, provide historical context, make a critical analysis of sources (using relevant illustration and quotation) and engage the audience. Consistent bibliographic citations should always be used. Grade A: Students demonstrate excellent understanding of the subjects covered, combining thorough critical knowledge of primary and secondary sources with a level of well-supported independent thought Grade B: Students show very good understanding of the subjects covered and can assess and compare primary and secondary sources with clarity Grade C: Students show reasonable understanding of the subjects covered and can present some key ideas clearly Grade D: A very low pass Grade F: This is a fail grade Grade conversion NYU in London uses the following scale of numerical equivalents to letter grades: A=94-100 A-=90-93 B+=87-89 B=84-86 B-=80-83 C+=77-79 C=74-76 C-=70-73 Page 2 of 13

D+=67-69 D=65-66 F=below 65 Where no specific numerical equivalent is assigned to a letter grade by the class teacher, the mid point of the range will be used in calculating the final class grade (except in the A range, where 95.5 will be used). Grading Policy NYU in London aims to have grading standards and results in all its courses similar to those that prevail at Washington Square. Attendance Policy NYUL has a strict policy about course attendance. No unexcused absences are permitted. While students should contact their class teachers to catch up on missed work, you should NOT approach them for excused absences. Excused absences will usually only be considered for serious, unavoidable reasons such as personal ill health or illness in the immediate family. Trivial or non-essential reasons for absence will not be considered. Excused absences can only be considered if they are reported in accordance with guidelines which follow, and can only be obtained from the appropriate member of NYUL's staff. Please note that you will need to ensure that no make-up classes or required excursions - have been organised before making any travel plans for the semester. See also section 11.1 - Make up days. Absence reporting for an absence due to illness 1. On the first day of absence due to illness you should report the details of your symptoms by e-mailing absences@nyu.ac.uk including details of: class(es) missed; professor; class time; and whether any work was due including exams. Or call free (from landline) 0800 316 0469 (option 2) to report your absences on the phone. 2. Generally a doctor s note will be required to ensure you have sought treatment for the illness. Contact the Gower Street Health Centre on 0207 636 7628 to make an appointment, or use HTH general practitioners if you cannot get an appointment expediently at Gower Street. 3. At the end of your period of absence, you will need to complete an absence Page 3 of 13

form online at http://bit.ly/nucl5k. You will need to log in to NYU Home to access the form. 4. Finally you must arrange an appointment to speak to Nigel Freeman or Donna Drummond-Smart on your first day back at class. You must have completed the absence form before making your appointment. Supporting documentation relating to absences must be submitted within one week of your return to class. Absence requests for non- illness reasons Absence requests for non-illness reasons must be discussed with the Academic Office prior to the date(s) in question no excused absences for reasons other than illness can be applied retrospectively. Please come in and see us in Room 308, 6 Bedford Square, or e-mail us atacademics@nyu.ac.uk. Further information regarding absences Each unexcused absence will be penalized by deducting 3% from the student s final course mark. Students are responsible for making up any work missed due to absence. Unexcused absences from exams are not permitted and will result in failure of the exam. If you are granted an excused absence from an examination (with authorisation, as above), your lecturer will decide how you will make-up the assessment component, if at all (by make-up examination, extra coursework, viva voce (oral examination), or an increased weighting on an alternate assessment component, etc.). NYUL also expects students to arrive to class promptly (both at the beginning and after any breaks) and to remain for the duration of the class. If timely attendance becomes a problem it is the prerogative of each instructor to deduct a mark or marks from the final grade of each late arrival and each early departure. Please note that for classes involving a field trip or other external visit, transportation difficulties are never grounds for an excused absence. It is the student s responsibility to arrive at an agreed meeting point in a punctual and timely fashion. Please refer to the Student Handbook for full details of the policies relating to attendance. A copy is in your apartment and has been shared with you on Google Docs. Page 4 of 13

Late Submission of Work Written work due in class must be submitted during the class time to the professor. Late work should be submitted in person to a member of NYU London staffin the Academic Office (Room 308, 6 Bedford Square) during office hours (Mon Fri, 10:30 17:30). Please also send an electronic copy to academics@nyu.ac.uk for submission to Turnitin. Work submitted within 5 weekdays after the submission time without an agreed extension receives a penalty of 10 points on the 100 point scale. Written work submitted more than 5 weekdays after the submission date without an agreed extension fails and is given a zero. Please note end of semester essays must be submitted on time. Plagiarism Policy Plagiarism: the presentation of another piece of work or words, ideas, judgements, images or data, in whole or in part, as though they were originally created by you for the assignment, whether intentionally or unintentionally, constitutes an act of plagiarism. Please refer to the Student Handbook for full details of the plagiarism policy. All students must submit an electronic copy of each piece of their written work to www.turnitin.com and hand in a printed copy with the digital receipt to their professor. Late submission of work rules apply to both the paper and electronic submission and failure to submit either copy of your work will result in automatic failure in the assignment and possible failure in the class. Electronic Submission The Turnitin database will be searched for the purpose of comparison with other students work or with other pre-existing writing or publications, and other academic institutions may also search it. In order for you to be able to submit your work onto the Turnitin website, you will need to set up an account: 1) Go onto the Turnitin website http://www.turnitin.com 2) Click Create Account in the top right hand corner 3) Select user type of student 4) Enter your class ID & Turnitin class enrolment password (these will be e-mailed to you after the drop/add period, or contact academics@nyu.ac.uk if you have misplaced these). 5) Follow the online instructions to create your profile. Page 5 of 13

To submit your work for class, you will then need to: 1) Log in to the Turnitin website 2) Enter your class by clicking on the class name 3) Next to the piece of work you are submitting (please confirm the due date), click on the submit icon 4) Enter the title of your piece of work 5) Browse for the file to upload from wherever you have saved it (USB drive, etc.), please ensure your work is in Word or PDF format, and click submit 6) Click yes, submit to confirm you have selected the correct paper (or no, go back to retry) 7) You will then have submitted your essay onto the Turnitin website. 8) Please print your digital receipt and attach this to the hard copy of your paper before you submit it to your professor (this digital receipt appears on the web site, immediately after you submit your paper and is also sent to your e-mail address). Please also note that when a paper is submitted to Turnitin all formatting, images, graphics, graphs, charts, and drawings are removed from the paper so that the program can read it accurately. Please do not print the paper in this form to submit to your lecturers, as it is obviously pretty difficult to read! You can still access the exact file you uploaded by clicking on the file icon in the content column. Please also see the Late Submission of Work policy, above. Students must retain an electronic copy of their work for one month after their grades are posted online on Albert and must supply an electronic copy of their work if requested to do so by NYU in London. Not submitting a copy of a piece of work upon request will result in automatic failure in the assignment and possible failure in the class. NYU in London may submit in an electronic form the work of any student to a database for use in the detection of plagiarism, without further prior notification to the student. Penalties for confirmed cases of plagiarism are set out in the Student Handbook. Required Text(s) Breward, Christopher. The Culture of Fashion: A New History of Fashionable Dress. Manchester: Manchester University Press, 1995. ISBN 978-0719041259 Riello, Giorgio, and Peter McNeil, eds. The Fashion History Reader: Global Perspectives. London: Routledge, 2010. ISBN 978-0415493246 Supplemental Texts(s) (not required to See the sections below on required readings for each class. Other texts will occasionally be distributed in class. Suggestions for further reading and/or readings on specific subject areas will also be offered, for example for student research essays. Page 6 of 13

purchase as copies are in NYU-L Library) Internet Research Guidelines Additional Required Equipment Suggested sites for research will be given in class When visiting museum collections, please bring a notepad and pencil (ink and ballpoint pens are not permitted in most museum study rooms). Session 1 4 September Introduction to British Fashion History I: terms, debates and themes Rebecca Arnold, Fashion: A Very Short Introduction (Oxford: Oxford University Press, 2009). ISBN 978-0199547906 Joanne B. Eicher and Mary Ellen Roach-Higgins, Definition and Classification of Dress, in Ruth Barnes and Joanne B. Eicher, eds., Dress and Gender: Making and Meaning in Cultural Contexts (Oxford: Berg, 1993), 8-28 ISBN 978-0854968657 Daniel Miller, 'Prologue' and Why Clothing Is Not Superficial, in Stuff (Cambridge: Polity, 2010), 1-11, 12-41. ISBN 978-0745644240 Aileen Ribeiro, 'On Englishness in Dress', in Christopher Breward et al, eds., The Englishness of English Dress (Oxford: Berg, 2002), 15-27. ISBN 978-1859735282 In this class we will allocate student class presentations: during the term each student will give two five-minute talks on a specific object, image or text from a period (or related to readings) that have been covered in the course Session 2 11 September Introduction to British Fashion History II: establishing 'fashion' and fashion history Christopher Breward, 'Introduction' and 'Renaissance: The Rhetoric of Power', in Culture of Fashion, 1-6 and 41-74. Lou Taylor, 'The Foundation Stones - dress history publications from 1560 to 1900', and 'Dress history debates from 1900', and 'Establishing British dress collections' in Establishing Dress History (Manchester: Manchester University Press, 2004), 4-43, 44-65 and 103-155. ISBN 978-0719066399 Susan Vincent, 'Introduction' and 'Addressing the Body' in Dressing the Elite: Clothes in Early Modern England (Oxford: Berg, 2003), 1-12, 47-78. ISBN 978-1859737514 Page 7 of 13

Session 3 18 September Seventeenth-Century Fashion Class I: Materials and Meanings Christopher Breward, 'Seventeenth Century: Clothing and Crisis', in The Culture of Fashion, 75-107 Ellen Chirelstein, Lady Elizabeth Pope: The Heraldic Body, in Renaissance Bodies: The Human Figure in English Culture, c. 1540-1660, edited by Lucy Gent and Nigel Llewellyn (London: Reaktion Books, 1990), 3--59. ISBN 978-0948462085 Aileen Ribeiro, 'Jacobean Themes', in Fashion and Fiction: Dress in Art and Literature in Stuart England (New Haven and London: Yale University Press, 2005), 21-89. ISBN 978-0300109993 Ann Rosalind Jones and Peter Stallybrass, 'Introduction: fashion, fetishism, and memory in early modern England and Europe', in Renaissance Clothing and the Materials of Memory (Cambridge: Cambridge University Press, 2000), 1-14. ISBN 978-0521786638 Session 4 25 September Seventeenth-Century Fashion: Study visit to the Museum of London storerooms There are no readings for this class: instead, please visit the Museum of London in advance of the class, looking particularly at the spaces entitled War, Plague and Fire Preparatory visit to museum Session 5 2 October Seventeenth-Century Fashion Class II: Representations and Economics Emilie Gordenker, 'Introduction' and 'Van Dyck's Costumes and the Caroline Court' in Anthony Van Dyck (1599-1641) and the Representation of Dress in Seventeenth- Century Portraiture (Turnhout: Brepols, 2001), 3-6, 9-25. ISBN 978-2503508801 Negley Harte, The Economics of Clothing in the Late Seventeenth Century, Textile History 22, no. 2 (1991): 277 296. Aileen Ribeiro 'The Ways of the World', in Fashion and Fiction: Dress in Art and Literature in Stuart England (New Haven and London: Yale University Press, 2005), 215-283. ISBN 978-0300109993 Margaret Spufford, The Cost of Apparel in Seventeenth-century England, and the Page 8 of 13

Accuracy of Gregory King, Economic History Review 53 (2000): 677 705. Session 6 9 October Eighteenth-Century Fashion Class I: Trade and Textiles Christopher Breward, 'Eighteenth century: clothing and commerce', in Culture of Fashion, 109-144 Cally Blackman, Walking Amazons: The Development of the Riding Habit in England During the Eighteenth Century. Costume 35, no. 1 (2001): 47 58. Beverly Lemire, 'Fashioning cottons: Asian trade, domestic industry and consumer demand, 1660-1780', in Riello and McNeil, The Fashion History Reader, 194-213 John Styles, 'Introduction', 'What the People Wore', and 'Fashion's Favourite? Cottons' in The Dress of the People: Everyday Fashion in Eighteenth-century England (New Haven and London: Yale University Press, 2007), 1-16, 31-55, 109-132. ISBN 978-0300121193 Session 7 16 October Eighteenth-Century Fashion: study visit to The Clothworkers Centre for Textiles and Fashion Study and Conservation, Blythe House, Olympia TBC There are no readings for this class: instead, please visit eighteenth century dress on display in the V&A's Fashion Galleries (Room 40) and the eighteenth century rooms in th V&A's British Galleries (Levels 2 and 4) in advance of the visit First Essay Due Preparatory visit to museum. (Students may also wish to get ahead with readings in preparation for the make-up class on Friday 25 October.) Session 8 23 October Eighteenth-Century Fashion Class II: Representations Viccy Coltman, Party-Coloured Plaid? Portraits of Eighteenth-Century Scots in Tartan, Textile History 41, no. 2 (2010): 182 216. Marcia R. Pointon, 'Dangerous Excrescences: Wigs, Hair and Masculinity', in Hanging the Head: Portraiture and Social Formation in Eighteenth-century England (1993; New Haven and London: Yale University Press, 1997), 107-136. ISBN 978-0300073683 Marcia R. Pointon, 'Going Turkish in Eighteenth-Century London: Lady Mary Wortley Montagu and her Portraits', in Hanging the Head: Portraiture and Social Formation in Page 9 of 13

Eighteenth-century England (1993; New Haven and London: Yale University Press, 1997), 140-57. ISBN 978-0300073683 Aileen Ribeiro, 'Fashion in the eighteenth century: some Anglo-French comparisons', in Riello and McNeil, The Fashion History Reader, 217-234 Session 9 25 October Nineteenth-Century Fashion Class I: Fashion and Anti-Fashion Christopher Breward, 'Nineteenth Century: fashion and modernity', in Culture of Fashion, 145-179. Diana Crane, 'Clothing behaviour as non-verbal resistance: marginal women and alternative dress in the nineteenth century', in Riello and McNeil, The Fashion History Reader Aileen Ribeiro, 'Fashion and Whistler', in Whistler, Women and Fashion, edited by Margaret F, MacDonald, Susan Grace Galassi, and Aileen Ribeiro (New York; New Haven: Frick Collection / Yale University Press, 2003),16-51. ISBN 978-0300099065 Valerie Steele, 'Victorian Fashion', 'Artificial Beauty: the Morality of Dress and Adornment', 'The Revolt Against Fashion', and 'The Corset Controversy', in Fashion and Eroticism: Ideals of Feminine Beauty from the Victorian Era to the Jazz Age (New York: Oxford University Press, 1985), 51-84, 121-144, 145-158, 161-191. ISBN 978-0195035308 Session 10 30 October Nineteenth-Century Fashion: Study Visit to Museum of London There are no readings for this class: instead, please visit the Museum of London in advance of the class, looking particularly at the rooms Expanding City and People's City Preparatory visit to museum Session 11 Nineteenth-Century Fashion Class II: Histories in Fashion and Histories of Fashion Page 10 of 13

13 November 'Thomas Carlyle and Sartor Resartus' and 'Thorstein Veblen's Leisure Class' in Michael Carter, Fashion Classics from Carlyle to Barthes (Oxford: Berg, 2003), 1-18 and 41-59. ISBN 978-1859736067 Walter Benjamin, Theses on the Philosophy of History, in Illuminations: Essays and Reflections (New York: Schocken, 1969), 253-264. ISBN 978-0805202410 Ulrich Lehman, Tigersprung, in Tigersprung: Fashion in Modernity (Cambridge, Mass., and London: MIT Press, 2000), 241-50. ISBN 978-0262122313 Ulrich Lehmann, 'L'Homme des foules, dandy, and flâneur: fashion and the metropolis 1850-1940' in Riello and McNeil, Fashion History Reader Session 12 20 November Twentieth-Century Fashion Class I: Design, Production and War Christopher Breward, 'The Production of Fashion' (Part One), in Fashion (Oxford; New York: Oxford University Press, 2003), 19-98. ISBN 978-0192840301 Pat Kirkham, Beauty and Duty in Wartime Britain,' in Jacqueline M Atkins, ed., Wearing Propaganda: Textiles on the Home Front in Japan, Britain, and the United States, 1931-1945 (New Haven, Conn.; London: Yale University Press, 2005), 205-227. ISBN 0300109245 Paul Rennie, "London Squares: The Scarves of Wartime Britain," in Jacqueline M Atkins, ed., Wearing Propaganda: Textiles on the Home Front in Japan, Britain, and the United States, 1931-1945 (New Haven, Conn.; London: Yale University Press, 2005), 229-37. ISBN 0300109245 Troy, Nancy J. 'Fashion, Art and the Marketing of Modernism', in Couture Culture: a Study in Modern Art and Fashion (Cambridge, Mass: MIT Press, 2003), 18-80. ISBN 978-0262201407 Session 13 27 November Twentieth-Century Fashion: Study visit to The Clothworkers Centre for Textiles and Fashion Study and Conservation, Blythe House, Olympia, with V&A curator Oriole Cullen There are no readings for this class: instead, please visit the V&A in advance of the session. Visit the temporary exhibition Club to Catwalk: London Fashion in the 1980s, an look particularly at twentieth-century fashion on display in the Fashion Galleries (Room 40) Preparatory visit to museum Page 11 of 13

Session 14 4 December Twentieth-Century Fashion Class II: Industry and Image in the Late Twentieth Century Rebecca Arnold, 'Introduction', 'Status, Power and Display' and 'Gender and Subversion' in Fashion, Desire and Anxiety: Image and Morality in the Twentieth Century (London; New York: I.B.Tauris, 2001), xiii-31 and 99-126. ISBN 978-1860645556 Rebecca Arnold, 'Vivienne Westwood's Anglomania', in Breward, Christopher et al (eds) The Englishness of English Dress (Oxford: Berg, 2002), 161-172. ISBN 978-1859735282 Christopher Breward, 'The Promotion of Fashion' (Part Two) and 'The Wearing of Fashion' (Part Three), in Fashion (Oxford; New York: Oxford University Press, 2003), 99-156, 157-216. ISBN 978-0192840301 Joanne Entwistle, The Fashion Industry, in The Fashioned Body: Fashion, Dress and Modern Social Theory (Cambridge: Polity Press, 2000), 208-36. ISBN 978-0745620077 Second essay due Session 15 Individual meetings and feedback 11 December Classroom Etiquette Classroom etiquette aims to promote the best possible learning environment and good communication between all participants. To this end, mobile phones and laptops will be switched off and food will not be consumed in class. Required Cocurricular Activities Suggested Cocurricular Activities Four visits to London museums in students' own time, as listed above. Students are encouraged to visit exhibitions of dress and art in London and beyond. Details of current exhibitions and displays will be mentioned in class. Your Instructor Page 12 of 13

Clare Backhouse is a historian of dress from London with an academic background in English Literature and Art History from Oxford University. At the Courtauld Institute, her doctoral thesis examined seventeenth-century dress and its links to print culture, a subject on which she published in the recent compilation Printed Images in Early Modern Britain: Essays in Interpretation, edited by Michael Hunter. Clare has taught college students in Montreal, Oxford and London and now presents regularly at academic conferences on dress history, material and visual culture and retailing. She is currently preparing the manuscript for her forthcoming book, Ballad Fashion: Print and Dress in Seventeenth-Century England. Page 13 of 13