Modern to hyper/ultra-modern: the twentieth century

Riello, G; McNeil, PK

Modern to hyper/ultra-modern: the twentieth century

Riello, G McNeil, PK

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Publisher:: Routledge
Publication Type:: Chapter
Citation:: The Fashion History Reader: Global Perspectives, 2010, 1, pp. 445 - 454
Issue Date:: 2010-01

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Field	Value	Language
dc.contributor.author	Riello, G	en_US
dc.contributor.author	McNeil, PK https://orcid.org/0000-0002-2151-4196	en_US
dc.contributor.editor	Riello, G	en_US
dc.contributor.editor	McNeil, P	en_US
dc.date.issued	2010-01	en_US
dc.identifier.citation	The Fashion History Reader: Global Perspectives, 2010, 1, pp. 445 - 454	en_US
dc.identifier.isbn	0-415-49323-4	en_US
dc.identifier.uri	http://hdl.handle.net/10453/14312
dc.description.abstract	When we write about the recent decades -- and indeed much of the twentieth century - scholars do not 'reconstruct a past that they can never know' as observed by Fritz Stern in his Varieties of History (1970), Depending on our age, we either remember or were a part of the Grunge style of the 19905, the New Romantics of the 19805, the Punks of the 1970s, the boutiques of the 1960s, the prohibitions of post-war rationing, or through our parents', grandparents', aunts' and uncles' memories, tales of short pongee silk dresses imported from China in the 1920s and the shock of seeing men walk around for the first time without neckties and hats, Of course our memories and recollections are also partial and influenced by our relationship to society, Our closeness and our personal relationships to dress in the recent past colour our interests and inflect our positions; sometimes it leads to books being written and preconceptions being challenged. It is impossible to remain neutral, detached and uninvolved: the fashion history of the recent past has, more than any previous fashion and perhaps more than most other types of histories, collective memories and personal stories, a strong 'presence in the present'.	en_US
dc.publisher	Routledge	en_US
dc.relation.ispartof	The Fashion History Reader: Global Perspectives	en_US
dc.title	Modern to hyper/ultra-modern: the twentieth century	en_US
dc.type	Chapter
utslib.location	London and New York	en_US
utslib.for	120301 Design History and Theory	en_US
utslib.citation.edition	1	en_US
dc.location.activity	Christchurch, New Zealand
pubs.embargo.period	Not known	en_US
pubs.organisational-group	/University of Technology Sydney
pubs.organisational-group	/University of Technology Sydney/Faculty of Design, Architecture and Building
pubs.organisational-group	/University of Technology Sydney/Faculty of Design, Architecture and Building/School of Design
pubs.organisational-group	/University of Technology Sydney/Strength - CCDP - Contemporary Design Practice
utslib.copyright.status	closed_access
pubs.consider-herdc	true	en_US
pubs.edition	1	en_US
pubs.place-of-publication	London and New York	en_US

Abstract:

When we write about the recent decades -- and indeed much of the twentieth century - scholars do not 'reconstruct a past that they can never know' as observed by Fritz Stern in his Varieties of History (1970), Depending on our age, we either remember or were a part of the Grunge style of the 19905, the New Romantics of the 19805, the Punks of the 1970s, the boutiques of the 1960s, the prohibitions of post-war rationing, or through our parents', grandparents', aunts' and uncles' memories, tales of short pongee silk dresses imported from China in the 1920s and the shock of seeing men walk around for the first time without neckties and hats, Of course our memories and recollections are also partial and influenced by our relationship to society, Our closeness and our personal relationships to dress in the recent past colour our interests and inflect our positions; sometimes it leads to books being written and preconceptions being challenged. It is impossible to remain neutral, detached and uninvolved: the fashion history of the recent past has, more than any previous fashion and perhaps more than most other types of histories, collective memories and personal stories, a strong 'presence in the present'.

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http://hdl.handle.net/10453/14312