在我们的文明意识到它意味着什么之前，“时尚”的概念可能已经被启发了。时尚已经成为第一和第二次世界大战之间的狂热中，当大批量生产的服装真正发展起来。然而，直到在英国，生产方法变得更加精简，才引入了服装配给制。布和缝纫用品配给，以及严格的规范保证了服装生产的快速、高效、经济的方式而达到一定标准的质量控制。到了20世纪50年代，越来越多的妇女被遗弃的小裁缝从增加大多数连锁店买的。The history of clothing and textiles traces the availability and use of textiles and other materials and the development of technology for the making of clothing over human history. The wearing of clothing is exclusively a human characteristic and is a feature of most human societies. It is unknown when humans began wearing clothes but anthropologists believe that animal skins and vegetation were adapted into coverings as protection from cold, heat and rain, especially as humans migrated to new climates. An alternative hypothesis is that covering is first used for other purposes, such as magic, decoration, cult, and prestige, and later found to be practical as well. Clothing and textiles have been important in human history; they reflect the materials available to a civilization as well as the technologies that humans hasmastered. The social significance of the finished product reflects their culture.
The notion of “fashion” may have been inspired way before our civilization realise what it means. Fashion has become a frenzy inreality between the First and Second World Wars, when mass production of clothing truly developed. However, it was not until clothes rationing was introduced in the UK that production methods became more streamlined. Rationing of cloth and haberdashery, along with strict specifications ensured manufacturers created garments in a speedy, efficient, economical manner whilst attaining a certain standard of quality control. By the 1950s, increasing numbers of women abandoned the little dressmaker and bought from the increasing majority of chain stores. #p#分页标题#e#
因此，本dissertation试图进行比较研究，以服装和纺织展览和博物馆的做法，对这样的展览。首先，我们首先看时装和纺织工业的起源。我们试着去了解过去和现在的时装展览，在历史上发生的变化形式。在时装展览馆的做法，将它们进行检查，在其成功和缺点。第二部分将集中于如何在实践中构建一个优秀的服装展。本dissertation将比较和对比的方式，以普通博物馆展览和时装展览。我们将试着找出有意义的因素，并讨论时装展览的商业影响。A whole range of exciting yarns, new fashion fabrics, protective materials and engineered fabrics became widely available after 1960. New materials and fabric finishing techniques are at first exclusive and expensive. Initially they are offered to the world of Haute Couture. A couple of years later they filter to the mass market.
Fashion in textile in its nature is for display. All textile and fashion enterprises wish to showcase their products in front of the public. Exhibitions are crucial ways to present their unique fashion identities, their quality and status. However, for the argument point of this paper, fashion and textile exhibitions are more significant as they represent a history. History of a time, of society and its opinions, of technology as well. Indeed, apart from catwalk shows, fashion exhibitions tell a story as museums do. That is also why we have museums devoted to fashion and textile exhibitions.
This thesis, therefore, is trying to conduct a comparative research into fashion and textile exhibitions and museum practices towards such exhibitions. We firstly begin by looking at provenance of fashion and textile industry. We try to understand the past and present of fashion exhibitions, the changes that have occurred along the history in forms. Museum practices in fashion exhibitions will them be examined, in both its success and drawbacks. The second part will be concentrated on how to construct a good fashion exhibition in practice. This thesis will compare and contrast fashion exhibitions to general museum exhibitions and runway shows. We will try to identify the significant factors in exhibitions, and discuss the commercial impact of fashion exhibitions.