Papers by Denise Nicole Green
Critical Studies in Fashion and Beauty
Once-embodied garments take on new life through curation, where they have the potential to reveal... more Once-embodied garments take on new life through curation, where they have the potential to reveal histories, pose questions, inspire creativity, and challenge oppressive systems by bringing attention to inequalities and injustices through the lens of fashion. While the garment does this work materially, it is the curator and their team who conceptualize an exhibition, conduct in-depth research, design the display and author interpretive
text, all of which empowers artefacts to convey a narrative. However, the very ‘elevation’ of fashion within major museums has been tethered to an ideological fabrication of fashion as a Euromodern phenomenon,
which has created, produced, performed and sensationalized an exclusionary narrative of fashion history. At the same time, this narrative is being challenged through curation, especially in smaller institutions like
community archives, tribal museums and university fashion collections. The contributors to this Special Issue reflect on the latter within the context of the United States. They write about the challenges of producing curated displays while offering insights into, and evidence of, the possibilities that curatorial practice offers institutions of higher education and the communities they serve. University collections in the United States create a space of learning that offers possibility for rethinking, reimagining and critiquing fashion. Education is the premise of the university collection and therefore world building becomes possible through curation. While the university fashion collection is not without colonial baggage, corporate and industry connections, ideological interests and neo-liberal pressures, it is ideally a space premised on scholarly pursuit. This Special Issue grapples with the complexities of curating fashion in North American universities, and the potential of this work to agitate, challenge and resist dominant narratives.
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Framework: The Journal of Cinema and Media, 2019
Located 220 miles northwest of New York City and 2,670 miles northeast of Los Angeles, the small ... more Located 220 miles northwest of New York City and 2,670 miles northeast of Los Angeles, the small city of Ithaca, New York, is relatively isolated from the fashion and film capitols of the United States; however, between 1914–1919 it was home to Wharton Studio Incorporated, a bustling silent fi lm production company that made hundreds of films and serials starring the leading actors of the day. Ithaca, New York, thus earned the moniker “the biggest little city” in the mid 1910s when production attracted some of the most important motion picture actors of the day, including Lionel Barrymore, Theda Bara, Olive Thomas, Warner Oland, and Oliver Hardy. Presented chronologically in order of production, this paper focuses on five heroines of the Wharton silent serials—Pearl White, Jean Sothern, Grace Darling, Irene Castle, Marguerite Snow—and examines how they (and their characters) influenced women’s fashion during the mid-late 1910s, a period of time considered “one of the more experimental in women’s clothes.”1 Serials with female leads were among the most popular of the early serial genre, what fi lm historian Ben Singer has termed the “serial-queen melodrama.”2 With the release of each new episode, female leads transformed entrenched notions of femininity and expanded fashion possibilities.
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Pivoting for the Pandemic, 2020
Fashion curation is an integral form of public scholarship within our field and yet has historica... more Fashion curation is an integral form of public scholarship within our field and yet has historically been overlooked as such. Unlike creative design scholarship, we have not collectively developed nor agreed upon methods for peer review. As a result, curatorial work is often not considered in tenure-review processes, despite fashion exhibitions meeting the core principles of disseminating scholarship beyond the academy. A recent article in the Clothing and Textiles Research Journal, “Fashion Exhibitions as Scholarship,” challenged members of our field to implement peer review of fashion curation as a way to encourage and elevate this important form of scholarship (Green, et al., 2019). In this experimental salon session, we built upon Green et al.’s (2019) work by using the innovative salon session format as a juried venue for presenting fashion exhibitions rooted in rigor and research. Five fashion exhibitions were presented and discussed during the session.
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Breaking Boundaries
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Critical Studies in Fashion & Beauty
Once-embodied garments take on new life through curation, where they have the potential to reveal... more Once-embodied garments take on new life through curation, where they have the potential to reveal histories, pose questions, inspire creativity, and challenge oppressive systems by bringing attention to inequalities and injustices through the lens of fashion. While the garment does this work materially, it is the curator and their team who conceptualize an exhibition, conduct in-depth research, design the display and author interpretive text, all of which empowers artefacts to convey a narrative. However, the very ‘elevation’ of fashion within major museums has been tethered to an ideological fabrication of fashion as a Euromodern phenomenon, which has created, produced, performed and sensationalized an exclusionary narrative of fashion history. At the same time, this narrative is being challenged through curation, especially in smaller institutions like community archives, tribal museums and university fashion collections. The contributors to this Special Issue reflect on the latte...
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Native American and Indigenous Studies, 2016
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This dissertation explores how Nuuchaanulth people living in Port Alberni, British Columbia artic... more This dissertation explores how Nuuchaanulth people living in Port Alberni, British Columbia articulate their sense of place and belonging in the Alberni Valley through tuupatii (ceremonial rights and privileges), genealogies, histories, material culture, and everyday engagement with the landscape. Port Alberni is a small town located in the Alberni Valley, a region rich in resources at the head of Barkley Sound on the Western coast of Vancouver Island. The Valley has been home to the Huupach'esat-h for thousands of years, but in the last 200 years has become a coming-together-place for Nuuchaanulth people more generally. As such, I explore how Nuuchaanulth people produce places within the Valley, engage with the haahuulthii (traditional chiefly territories) of the Huupach'esat-h First Nation, and experience ongoing colonialism. I examine how places are produced through encounters between peoples, histories, memories, supernatural phenomena, material artifacts, ceremonies, and forms of cultural knowledge. I develop the concept of encounter to interpret how places are produced through frictional interfaces. Drawing upon four-and-a-half years of ethnographic research, I have found that cultural practices, such as potlatching, addressing grief, knowing genealogies, and participating in oral traditions, have strengthened Nuuchaanulth communities in the Valley amidst entrenched capitalism and ongoing colonialism. I begin by using the concept of encounter to illustrate histories on the Westcoast generally, and the Alberni Valley more specifically. Next, I focus on particular encounters between families of the Huupach'esat-h, Hikuulthat-h, and Nash'asat-h to connect genealogies to production of knowledge and place. In the last three chapters, I use different cultural forms (e.g., dress, weaving, and ceremonial curtains) to illustrate how bodies and materials work together to produce understandings of place. My intention is to give a sense of the contemporary situation facing Huupach'esat-h people, who live amidst hi [...]
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Bridging theory and practice, this accessible text considers fashion from both cultural studies a... more Bridging theory and practice, this accessible text considers fashion from both cultural studies and fashion studies perspectives, and addresses the growing interaction between the two fields. Kaiser and Green use a wide range of cross-cultural case studies to explore how race, ethnicity, class, gender and other identities intersect and are produced through embodied fashion. Drawing on intersectionality in feminist theory and cultural studies, Fashion and Cultural Studies is essential reading for students and scholars. This revised edition includes updated case studies and two new chapters. The first new chapter explores religion, spirituality, and faith in relation to style, fashion, and dress. The second offers a critique of "beauty" and considers dressed embodiment inclusive of diverse sizes, shapes and dis/abilities. Throughout the text, Kaiser and Green use a range of examples to interrogate the complex entanglements of production, regulation, distribution, consumption...
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Clothing and Textiles Research Journal, 2019
Curated exhibitions are places where research practice, creative design, storytelling, and aesthe... more Curated exhibitions are places where research practice, creative design, storytelling, and aesthetics converge. In this article, we use the term “fashion exhibition” to refer to the organized display of extant dress-related items within museums or other public spaces. Curation, as a form of creative design research, produces numerous outcomes including museum exhibitions, digital archives, and associated publications; however, our field has not yet established a method to peer review fashion exhibitions. In this article, we build upon the work of previous scholars to propose criteria for evaluating fashion exhibitions. In doing so, we aim to elevate the scholarly status of fashion exhibitions, particularly those mounted by modestly funded institutions, and use the recent fashion exhibition, “Women Empowered: Fashions from the Frontline,” as an example to illustrate our argument.
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Clothing and Textiles Research Journal, 2020
Revival of roller derby in the early 2000s garnered significant interest in the sport, and an ext... more Revival of roller derby in the early 2000s garnered significant interest in the sport, and an extensive network of leagues began to form. By 2018, approximately 1,500 leagues were operating in North America, each with a unique logo. In this study, we focus on the league logos as a potent form of embodied fashion representation. Using content analysis, we examined all of the logos for U.S. Women’s Flat Track Derby Association–member leagues and have interpreted our findings through a critical cultural analysis. Revival of roller derby in the aughts has repositioned the sport as inclusive of diverse bodies; however, the logos tell a different story. League logos perpetuate hyperfeminized, thin-centric, white bodies—that is, the norms that derby athletes are performatively challenging through participation in the sport.
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Ethnohistory, 2019
The practice of using drawing and image rendering to declare rights and histories is long-standin... more The practice of using drawing and image rendering to declare rights and histories is long-standing among Nuu-chah-nulth people on the west coast of Vancouver Island. This article analyzes a collection of images created in 1916 by Douglas Thomas, a Nuu-chah-nulth man from the Tseshaht First Nation. His eldest son, Alex Thomas, sold these drawings to linguistic anthropologist Edward Sapir, who was at the time in charge of the anthropology division of the Geological Survey of Canada. The drawings depict critically important cultural information about ceremonial practices and protocols and are similar in style and content to the much larger-scale cedar screens (kiitsaksuu-ulthim) and cloth curtains (thliitsapilthim) of the same time period. By returning facsimile and digital copies to the family of origin, this research illustrates how anthropologists may play a role in fostering productive and reciprocal relationships between Native source communities and the archives that hold some of their treasured information.
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TEXTILE, 2018
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Critical Studies in Men???s Fashion, 2016
This article examines how, in the latter aughts, men from the United States thought about their s... more This article examines how, in the latter aughts, men from the United States thought about their style, favourite clothing, masculine style(s) and the ways they imagined masculinity as articulated through everyday practices of fashioning the body. The body is a site of identity production, situated within broader cultural expectations, commitments and ideals. This study uses demographically balanced open-ended survey responses to gauge men’s relationships to masculine ideals while dressing the body. We ask: how do men think about masculinity in relation to dress? How do they define ‘masculine style’? In this article we examine individual responses about everyday appearance decisions, as well as larger trends. The study is a cross-section from a particular moment in time (May 2008) and uses demographically balanced open-ended survey responses to gauge men’s relationships to masculine ideals while dressing the body. We use descriptive statistics to illustrate how men in the United States – at a particularly transitional moment in time – articulated their perspectives on favourite clothes and masculine style.
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Critical Studies in Fashion & Beauty, 2013
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Carved and painted onto wood, stone, bone, animal skins, or metal, or woven and knitted into clot... more Carved and painted onto wood, stone, bone, animal skins, or metal, or woven and knitted into cloth, the material culture from Northwest Coast Native peoples has historically been a one-of-a-kind iteration and a declaration of familial rights and privileges. These items have adorned public and private spaces, including the body, and were traditionally produced by hand. In recent years, some designs have been serialized and mass produced through new technologies such as silk screen and digital printing, adorning everything from coffee mugs to t-shirts, sunglasses, jewelry, and other garments (Roth 2012; Roth 2015). This chapter explores the history of Nuu-chah-nulth First Nations specifically and analyzes their distinctive aesthetics and design practice through the lens of fashion theory. The chapter concludes with a discussion of contemporary Nuu-chah-nulth designers and the circulation of their work. I ask: how does fashion operate within Nuu-chah-nulth social organization and how has ongoing colonialism and hybridization of prestige and capitalist economies transformed Nuu-chah-nulth fashion systems and design ideas? The findings discussed in this chapter draw from ongoing ethnographic research (beginning in October 2009) and archival- and museum-based research at both major and minor institutional repositories in the United States, Canada, Germany, and England.
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Pivoting for the Pandemic
In this study, we examined emotional and physical aspects of chest binding by surveying 61 trans ... more In this study, we examined emotional and physical aspects of chest binding by surveying 61 trans and gender non-binary (TNB) individuals who currently practice compression of mammary tissue through structural undergarments. Participants believed that binding produced better connections with and/or expression of their gender identity (92%, n=52). Through thematic analysis of qualitative responses, we found three non-mutually exclusive reasons for binding: (a) positive emotional feelings elicited by the practice, such as confidence, comfort, and safety (56%, n = 34); (b) aesthetic and visual improvements, like better fit of menswear (51%, n =31); and (c) greater satisfaction with gender expression and amelioration of dysphoria (69%, n = 42). One third of participants were ambivalent about binding, noting both positive and negative aspects. One-quarter said that binding made them feel anxious, sad, or upset, and another quarter mentioned physical difficulties like discomfort, back pain, constraint, and trouble breathing.
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Papers by Denise Nicole Green
text, all of which empowers artefacts to convey a narrative. However, the very ‘elevation’ of fashion within major museums has been tethered to an ideological fabrication of fashion as a Euromodern phenomenon,
which has created, produced, performed and sensationalized an exclusionary narrative of fashion history. At the same time, this narrative is being challenged through curation, especially in smaller institutions like
community archives, tribal museums and university fashion collections. The contributors to this Special Issue reflect on the latter within the context of the United States. They write about the challenges of producing curated displays while offering insights into, and evidence of, the possibilities that curatorial practice offers institutions of higher education and the communities they serve. University collections in the United States create a space of learning that offers possibility for rethinking, reimagining and critiquing fashion. Education is the premise of the university collection and therefore world building becomes possible through curation. While the university fashion collection is not without colonial baggage, corporate and industry connections, ideological interests and neo-liberal pressures, it is ideally a space premised on scholarly pursuit. This Special Issue grapples with the complexities of curating fashion in North American universities, and the potential of this work to agitate, challenge and resist dominant narratives.
text, all of which empowers artefacts to convey a narrative. However, the very ‘elevation’ of fashion within major museums has been tethered to an ideological fabrication of fashion as a Euromodern phenomenon,
which has created, produced, performed and sensationalized an exclusionary narrative of fashion history. At the same time, this narrative is being challenged through curation, especially in smaller institutions like
community archives, tribal museums and university fashion collections. The contributors to this Special Issue reflect on the latter within the context of the United States. They write about the challenges of producing curated displays while offering insights into, and evidence of, the possibilities that curatorial practice offers institutions of higher education and the communities they serve. University collections in the United States create a space of learning that offers possibility for rethinking, reimagining and critiquing fashion. Education is the premise of the university collection and therefore world building becomes possible through curation. While the university fashion collection is not without colonial baggage, corporate and industry connections, ideological interests and neo-liberal pressures, it is ideally a space premised on scholarly pursuit. This Special Issue grapples with the complexities of curating fashion in North American universities, and the potential of this work to agitate, challenge and resist dominant narratives.