From the editorial:
"Print itself is both a materiality as well as a vehicle of
representation. How did the meaning of various forms of fashion-related
prints change as they were circulated in new contexts? What was the
relationship of ‘fashion words’ and images? What were the mechanisms
through which print – as newsprint, almanac, trade-card, respectful or
satirical image – supported or undermined the spread of fashions, from
‘head-piece’ to ‘borders’? A pluralistic perspective is needed to better
understand the transmission of ideas about fashion in print as well as
in practice – and their interrelationship for the new readers and
viewers of the period from the renaissance to the eighteenth century."

This theme issue of Konsthistorisk tidskrift publishes some of the findings related to the Humanities in the European Research Area (HERA)/European Science Foundation funded project ‘Fashioning the Early Modern: Innovation and Creativity in Europe, 1500–1800’ (FEM) and the portfolio ‘Print Culture and Fashion Products’ managed therein by Peter McNeil and Patrik Steorn (Centre for Fashion Studies, Stockholm University). HERA FEM was a three-year major funded project conducted from 2010 to 2013. The third HERA FEM workshop was held in Stockholm from the 30 November to 1 December 2011. The event was conducted with site visits at the Livrustkammaren (The Royal Armoury), the Nationalmuseum, the Nordiska museet and a reception and address by guest curator Dr Patrik Steorn at the Hallwyl Museum. Nine papers were presented at this workshop by scholars including early-career and senior researchers from Sweden, Germany, the UK, Denmark, Norway, Australia and the USA.

HERA FEM posed several major questions. How can we narrate the story of fashionability in countries other than France and England? What can be learned from national collections and foreign language texts that remain poorly accessed outside those countries? We argue for fashion as a process of connections, transpositions, transformations, translations and mistranslations of fashionable goods and lifestyles. Already we have been surprised by the level of immediacy and cross-cultural contact between the relevant societies revolving around fashion goods and images. Our project has also argued for the significance of understanding fashion and materiality. Fashion is not just a discursive process or an image culture. We have argued for a greater precision of language and terms, and the complexity of the ‘traffic of fashion’ across Europe over a long span of time.

Peter McNeil & Patrik Steorn: The Medium of Print and the Rise of
Fashion in the West
Chia-hua Yeh: From Classical to Chic: Reconsidering the Prints from
Varie acconciature di teste usate da nobilissime dame in diverse città
d'Italia by Giovanni Guerra, c. 1589
Lena Dahrén: Printed Pattern Books for Early Modern Bobbin-made Borders
and Edgings
Cecilia Candréus: The Use of Printed Designs in 17th-Century Embroidery
– Layers of Transfer and Interpretation
Mark de Vitis: Sartorial Transgression as Socio-political Collaboration:
Madame and the Hunt
Patrik Steorn: Migrating Motifs and Productive Instabilities: Images of
Fashion in Eighteenth-Century Swedish Print Culture
Carolina Brown: Portraits en savoyarde and the Shepherdess of the Alps:
Portraits, Prints, Literature and Fashion in Eighteenth-century Sweden
Arlene Leis: Displaying Art and Fashion: Ladies' Pocket-Book Imagery in
the Paper Collections of Sarah Sophia Banks
Audrey Millet: Dessiner La Mode En Régime De Fabrique: L'imitation Au
Cœur Du Processus Créatif

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