Paris Fashion and World War Two : Global Diffusion and Nazi Control
- Submitting institution
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University of Brighton
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 14298833
- Type
- B - Edited book
- DOI
-
-
- Publisher
- Bloomsbury
- ISBN
- 9781350000278
- Open access status
- -
- Month of publication
- September
- Year of publication
- 2020
- URL
-
-
- Supplementary information
-
-
- Request cross-referral to
- -
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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1
- Research group(s)
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A - Design History, Visual and Material Culture
- Proposed double-weighted
- Yes
- Double-weighted statement
- Paris Fashion and World War Two is a longer-form output, resulting from a four-year period of research, involving considerable primary research, writing and editing. The volume (360 pages) is also a complex piece of research as it was developed collaboratively by the co-editors, working with an international group of historians and curators. McLoughlin co-authored four chapters, including the introduction and conclusion; and was the sole author of another two chapters. There was also a lengthy and extensive period of picture research to identify, select and source the nearly 200 images, many of which had not previously been published.
- Reserve for an output with double weighting
- No
- Additional information
- Paris Fashion and World War Two brings the research of Marie McLoughlin and Lou Taylor together with seven essays commissioned from an international group of dress historians and curators to correct the popular misconception, regularly repeated in dress histories, that Paris fashion stopped for the duration of the Nazi occupation. The volume develops new perspectives and introduces overseas trade links out of occupied France to advance two arguments: first, that despite the political, economic and cultural trauma, Paris retained its hold on the international haute couture industry throughout World War Two; second, that the Nazis used Paris couture as a tool of cultural collaboration. The fate of Jewish fashion designers, makers and retailers across Europe is also examined.
The book emerged from a series of colloques at Institut d'Histoire du Temps Présent (IHTP), Paris, organised by Taylor and Dominique Veillon, and attended by McLoughlin. Convinced that Paris fashion continued to be a global trade during the occupation, Taylor and McLoughlin worked with contributors to the IHTP series to develop chapters on France, Sweden and the transatlantic fashion press. They then solicited contributions from other authors to cover Denmark, New York, Brazil and Lisbon. McLoughlin and Taylor co-authored four chapters, including the introduction and conclusion framing the volume; McLoughlin wrote another two (on London and the impact of Jewish refugees from occupied Europe on British fashion; and attempts to replace Paris with a London fashion hub); Taylor wrote an additional three (on Berlin, the Lyons textile industry, and Austria/Switzerland and Belgium), and collaborated on a fourth (Lisbon). The editors also worked with authors and collections on picture research to underpin the argument of the volume, reproducing nearly 200 images.
- Author contribution statement
- -
- Non-English
- No
- English abstract
- -