The Association of Dress Historians supports and promotes the study and professional practice of the history of dress, textiles, and accessories of all cultures and regions of the world, from before classical antiquity to the present day.
Professor Emeritus Aileen Ribeiro is Patron of The Association of Dress Historians. She read history at King’s College, London, followed by an MA and PhD at The Courtauld Institute of Art. She was Head of The Department of Dress History at The Courtauld Institute of Art from 1975 to 2009. She lectures widely and has acted as costume consultant/contributor to many major museum exhibitions in Great Britain, Europe, and North America. Professor Emeritus Ribeiro has published many books and articles on various aspects of the history of dress, including The Art of Dress: Fashion in England and France 1750–1820 (1995); Dress and Morality (2003); Fashion and Fiction: Dress in Art and Literature in Stuart England (2006); Facing Beauty: Painted Women and Cosmetic Art (2011); A Portrait of Fashion: Six Centuries of Dress at the National Portrait Gallery (with Cally Blackman) (2015); and Clothing Art: The Visual Culture of Fashion, 1600–1914 (2017).
Dr. Jennifer Daley, PhD, FHEA, MA, MA, BTEC, BA, is Chairman and Trustee of The Association of Dress Historians and Editor–in–Chief of The Journal of Dress History. Dr. Daley is a university professor, who researches the political, economic, industrial, technological, and cultural history of clothing and textiles. She earned a PhD from The Department of War Studies at King’s College, London, with a thesis, titled, A History of Clothing and Textiles for Sailors in the British Royal Navy, 1660–1859. She also earned an MA in Art History from The Department of Dress History at The Courtauld Institute of Art; a BTEC in Millinery (history, design, and construction) at Kensington and Chelsea College; an MA (with a dissertation on political economics) from King’s College, London; and a BA from The University of Texas at Austin. She can be reached at email firstname.lastname@example.org.
After a long career in Accountancy, early retirement gave Lisa Bartup the opportunity to study fashion and dress history. She holds a BA in Fashion and Dress History and is currently studying for an MA in The History of Design and Material Culture at The University of Brighton. A horse rider from a young age, Lisa uses her experience to research equestrianism, including themes of tradition, belonging, gender, class, and consumption. Her current research project explores how dress communicates the role and position of women in organised equestrian sports during the nineteenth century. She is also a member of Objects Unwrapped, an ongoing collaborative project between The University of Brighton and Worthing Museum, researching equestrian objects held in the collection. Lisa can be reached by email at email@example.com.
Vanessa Jones is Membership Officer of The Association of Dress Historians. Vanessa is Assistant Curator of Dress and Textiles at Leeds Museums and Galleries, where she is responsible for the care, interpretation, and research of approximately 20,000 objects. On a freelance basis, Vanessa is also design archivist at Standfast & Barracks where she is responsible for the care and research of approximately 15,000 objects. Vanessa has previous curatorial experience with collections at The Museum of Farnham; The Charleston Trust, where her work focused on examples of fashion drawn and painted on domestic objects produced by Vanessa Bell and Duncan Grant; and The Victoria and Albert Museum, where she worked on several large research projects including Balenciaga: Shaping Fashion; London Society Fashion, 1905–1925: The Wardrobe of Heather Firbank; and Alexander McQueen: Savage Beauty. Vanessa can be reached at email firstname.lastname@example.org.
Mariza Galindo is Digital Communications Officer of The Association of Dress Historians. She is a fashion scholar and behavioural analyst with a global perspective on fashion and emerging technologies. She is an MPhil/PhD candidate in Textiles at The Royal College of Art, London, and holds an MA in Fashion Studies from Parsons School of Design, New York. Mariza’s research investigates the Fourth Industrial Revolution by specifically looking at the relationship between biology, technology, and design. Mariza is passionate about advancing public interest in sustainable practices of textile design and manufacturing, and actively seeks collaborations that can exert intergenerational responsibility and help reduce the fashion industry’s social and environmental impact. Mariza can be reached at email email@example.com.
Emmy Sale holds a BA in Fashion and Dress History and an MA in History of Design and Material Culture, from The University of Brighton. Her research interests include homemade clothing, women’s periodicals, and interwar beachwear. Emmy has been the recipient of the following awards during her studies: The Association of Dress Historians Student Fellowship 2018, Design History Society Student Essay Prize 2018, and The Costume Society’s The Yarwood Award 2019. Emmy published an article, titled, “‘It Is Not Impossible to Look Nice Sitting About on the Beach:’ The Influence of Magazines in the Making and Wearing of Hand-Knitting Bathing Suits by Young Working Women in England during the 1930s,” in the Autumn 2018 issue of The Journal of Dress History. Emmy is Student Communications Officer of The Association of Dress Historians, and her role involves overseeing the ADH social media platforms. Emmy can be reached at email firstname.lastname@example.org.
Janet Mayo is a member of the Executive Committee of The Association of Dress Historians, a Trustee, and she chairs the ADH Awards Sub–Committee. Janet has been a member of the ADH since its conception as CHODA. Her first degree was in theology at Birmingham University, and she followed it with an MA in History of Dress, taught by Aileen Ribeiro, at The Courtauld Institute of Art, specialising in British eighteenth century dress. Janet wrote her MA dissertation on Aesthetic Dress at the end of the nineteenth century. This combination of degrees led to the publication of A History of Ecclesiastical Dress (B.T. Batsford, 1984). Janet worked as a Costume Supervisor in the theatre and opera, finally head of costume at The National Theatre, London, during the time of Sir Peter Hall and Richard Eyre. In Brussels, Janet worked in the uniforms section of the Textiles Department of The Royal Museum of the Armed Forces and Military History. Janet can be reached at email email@example.com.
Tara Tierney holds an MA in the History and Culture of Fashion, from London College of Fashion, University of the Arts London. Her Master’s dissertation focused on the early British House Music culture, 1987–1991, and explored women’s identity within this culture through dress and the roles women held. Her present position is at Net–A–Porter, where she manages the digitisation and annotation of the Net–A–Porter Catwalk Archive, which is a collection of over 5500 hours of catwalk footage and interviews, covering all four major fashion weeks, 1979–2010.
Emily Taylor is currently Assistant Curator of European Decorative Arts at National Museums Scotland, with a focus on working with the pre–1850 element of the Fashion and Textile collection. Her primary research area is on fashion construction and fashionable identities, circa 1700–1850. In 2013 she completed a PhD at The University of Glasgow, titled, Women’s Dresses from Eighteenth Century Scotland: Fashion Objects and Identities. She completed an MLitt in Decorative Arts and Design History at The University of Glasgow in 2007, and has previously had voluntary and paid roles with York Museums Trust, National Museums Scotland, and Glasgow Museums. Emily can be reached at email firstname.lastname@example.org.
Ingrid Mida, PhD (Art History and Visual Culture), is the Editor of The Journal of Dress History. She is a Modern Literature Centre research associate at Ryerson University, Toronto; a contributor to Smarthistory; and also works as an independent curator. Responsible for the revival of the Ryerson Fashion Research Collection, she is the lead author of The Dress Detective: A Practical Guide to Object-based Research in Fashion (Bloomsbury Academic, 2015) and Reading Fashion in Art with The Dress Detective (Bloomsbury Academic, 2020). She is the recipient of various grants and awards including the Janet Arnold award at the Society of Antiquaries in London (2015) and the Scholars’ Roundtable Honor from the Costume Society of America (2016 and 2017). She is a Board Trustee for the Textile Museum of Canada. Ingrid is a member of the Executive Committee of The Association of Dress Historians and can be reached at email email@example.com.
Eanna Morrison Barrs is a fashion scholar, writer, and curator. She is a recent graduate with an MA in Fashion Studies from Stockholm University and a BA (Hons) in Art History and Material Culture from the University of Toronto. Eanna has worked in museums across the world, including The Wallace Collection in London, Nordiska museet (The Nordic Museum) in Stockholm, and the Bata Shoe Museum in Toronto. Her current research focuses on cultural heritage and fashion institutions, such as archives, museums, and magazines. Eanna was awarded a 2020 Student Fellowship by The Association of Dress Historians.
Irene Calvi graduated in 2019 with a BA degree in Cultural Heritage (History of Art) from The University of Turin, Italy, with a dissertation on the museological approach to fashion, and the ability of museums to deliver a message to their public through exhibitions. She is continuing her studies with the international MA course Arts, Museology, and Curatorship at the Alma Mater Studiorum, University of Bologna, Italy. Irene is passionate about the historical and cultural significance of fashion interpretation in museums, an aspect she has deepened with a collaboration with the young collective CreateVoice and an Erasmus Traineeship. Irene was awarded a 2019 and 2020 Student Fellowship by The Association of Dress Historians.
Zara Kesterton is an MPhil student at the University of Cambridge, researching eighteenth century French dress through Rose Bertin, fashion merchant to Marie-Antoinette. Her undergraduate dissertation at the University of Durham investigated female workers in Lyon’s historic silk guild in the years preceding the French Revolution. Aside from writing about historical dress, Zara enjoys making and wearing it. She worked for several years at Hever Castle in Kent, playing Anne Boleyn in sixteenth century costume. She hopes to incorporate her hobby of dressmaking into a future PhD, reconstructing historic garments. Zara was awarded a 2020 Student Fellowship by The Association of Dress Historians.
Caroleen Molenaar is completing her MA in Museum Studies at the University of Leicester, having recently graduated in 2019 from the BA (Hons) Fashion and Dress History at the University of Brighton. Her current research interests encompass topics such as: sustainable fashion practices; Canadian fashion history; upper class women’s fashion in France and England between 1890-1914 and 1947-1957; as well as the role and display of fashion in museums. Caroleen was awarded a 2020 Student Fellowship by The Association of Dress Historians.
Sofia Nadjimov holds an MA in Fashion Studies from Parsons School of Design, New York, and a BA in Journalism from City, University of London. Her own academic interests are in the symbiotic relationship between fashion, cinema, and urban landscapes; namely unraveling the significance of costume in crafting cinematic identities, as well as gender and sexuality on screen. Her Master’s thesis explores the role of fashion in weaving together the ‘look’ of French New Wave cinema through the early work of director Jean-Luc Godard. It views costume as a primary signifier of the shifting values and ideals of postwar youth in Paris. Sofia was awarded a 2020 Student Fellowship by The Association of Dress Historians.
Lynda May Xepoleas is currently pursuing a PhD in Apparel Design at Cornell University. Her research interests revolve around the two-dimensional representation of fashion in print and online. Her dissertation investigates the instrumental role photography played in the process by which several museum collections in New York City became an important resource for the development of the American fashion industry during the First and Second World War. In addition to researching the history and theory of fashion ephemera, Lynda has worked in several cultural institutions including Los Angeles County Museum of Art and Phoenix Art Museum. Lynda was awarded a 2020 Student Fellowship by The Association of Dress Historians.
The University of Turin
The Victoria and Albert/Royal College of Art
The University of Brighton
The University of Oxford
The University of Brighton
The University of Brighton
Parsons School of Design
New York, United States
The University of Belgrade
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The Association of Dress Historians (ADH)
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