It is my honor and privilege to welcome you all to the first special issue of Dress: The Journal of the Costume Society of America that is focused on LGBTQþ fashions, styles, and bodies. First, I recognize that many different terms and acronyms are used to refer to this community, such as queer, LGBTQIAAþ, LGBTQQIP2SAA, MOGII, and QUILTBAG, just to name a few. While I use the acronym LGBTQþ, reflecting on and highlighting the continually changing nature of language is important, and I encourage you to continue to educate yourselves as the language shifts and changes over time and across cultures. Research on the intersections of LGBTQþ identities and fashion, styles, and bodies is scarce in comparison to the overall literature on fashion history and fashion studies. Much of the work on LGBTQþ fashion has largely focused on white, able-bodied individuals. Additionally, while some museums have focused their exhibitions on the LGBTQþ community, much of the work has again centered on white individuals, with a focus on high-fashion aesthetics. Therefore, the work in this special issue adds much-needed diversity to the literature within our discipline, as four of the five manuscripts in the issue specifically focus on people of color. As a critical scholar, I also want to highlight that it is important that we—CSA members, scholars, museum professionals, teachers, and the community at large—reflect on and recognize our own privileges as we engage with the work in this issue. What kinds of research questions have you asked in the past? How have you centered LGBTQþ identities or those of people of color, people with disabilities, or fat folks in all aspects of your work? If you are a museum professional, how have you brought these marginalized identities into the existing histories, collecting practices, or exhibition spaces? Have you questioned how your policies, practices, and related output uphold heteronormative ideologies, white supremacy, colonial power, or ableism and then worked to disrupt these power dynamics and work toward change? How have you opened yourself and your colleagues up to criticism, reflected on that criticism, and then thought of those critical reflective sessions as learning opportunities? As I welcome you to this special issue, I also welcome you to be more thoughtful, purposeful, and open to criticism related to diversity, equity, and inclusion in all aspects of your work and life. For this special issue, a conscious effort in all aspects of its creation focused on and considered intersectionality, an idea developed by early critical race theorist Kimberl e Crenshaw. She explained that Black women, who experience marginalization both for being women and for being Black, are not fully understood within the current critical frameworks that consider race and gender separately. Although Crenshaw focused specifically on the intersection of race and gender, her framework can be used to examine the intersections of all marginalized identities and related hierarchies; such considerations impacted all aspects of this issue of Dress. Conscious choices were made regarding the reviewers, what topics were accepted into the special issue, which image was on the cover, the order of the manuscripts, and the sizes of the different images used throughout the issue. As a white, able-bodied, “thin” person, I have a significant amount of privilege. Although I am a member of the queer community, much of my LGBTQþ identity is invisible. Throughout my time as guest editor, I have continually reflected on my identities and interrogated/examined how my own biases might inform my decision processes, manuscript revisions, and selection and formatting of the illustrations and photographs included in the issue. This process of critical self-reflection and the double-blind peer-review process resulted in five manuscripts addressing unique and important areas of research that all 1 M. Maya, “Your LGBTQAþGlossary: 7 Phrases You Might Not Have Heard of but Should Know,” Bustle, November 11, 2014, ; Emily Zak, “LGBPTTQQIIAAþ—How We Got Here from Gay,” Ms. Magazine, October 1, 2013, .

中文翻译：

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欢迎来到卷。45、1号

我很荣幸欢迎大家阅读第一期特刊《连衣裙：美国服装协会杂志》，该杂志专注于 LGBTQþ 的时尚、风格和身体。首先，我认识到许多不同的术语和首字母缩略词用于指代这个社区，例如 queer、LGBTQIAAþ、LGBTQQIP2SAA、MOGII 和 QUILTBAG，仅举几例。虽然我使用首字母缩略词 LGBTQþ，但反思和强调语言不断变化的本质很重要，我鼓励您随着语言随着时间和跨文化的转变和变化而继续自我教育。与时尚史和时尚研究的整体文献相比，关于 LGBTQþ 身份与时尚、风格和身体的交叉点的研究很少。LGBTQþ 时尚的大部分工作主要集中在白人、有能力的人。此外，虽然一些博物馆将展览重点放在 LGBTQþ 社区，但大部分工作再次以白人为中心，重点关注高级时尚美学。因此，本期特刊中的工作为我们学科内的文献增添了急需的多样性，因为本期五篇手稿中有四篇专门关注有色人种。作为一名批判性学者，我还想强调，我们——CSA 成员、学者、博物馆专业人士、教师和整个社区——在参与这个问题的工作时反思并承认我们自己的特权是很重要的。您过去问过哪些类型的研究问题？您如何将 LGBTQþ 身份或有色人种、残疾人、还是在你工作的各个方面都是胖子？如果您是博物馆专业人士，您是如何将这些边缘化身份带入现有历史、收藏实践或展览空间的？您是否质疑过您的政策、实践和相关产出如何维护异性恋意识形态、白人至上、殖民权力或能力主义，然后努力破坏这些权力动态并努力实现变革？您是如何让自己和同事接受批评、反思批评，然后将这些批评性反思会议视为学习机会的？在欢迎您阅读本期特刊的同时，我也欢迎您在工作和生活的各个方面更加深思熟虑、更有目的性，并愿意接受与多样性、公平和包容相关的批评。对于本期特刊，其创作的所有方面都有意识地努力关注并考虑了交叉性，这是由早期批判种族理论家金伯尔·克伦肖提出的想法。她解释说，在当前将种族和性别分开考虑的关键框架中，并没有完全理解黑人女性，因为她们既是女性又是黑人，她们都被边缘化了。尽管克伦肖特别关注种族和性别的交叉点，但她的框架可用于检查所有边缘化身份和相关等级制度的交叉点；这样的考虑影响了本期《着装》的方方面面。对审稿人、特刊接受的主题、封面上的图像、手稿的顺序以及整个问题中使用的不同图像的大小做出了有意识的选择。作为一个白人、身体健全、“瘦”的人，我有很大的特权。虽然我是酷儿社区的一员，但我的大部分 LGBTQþ 身份是不可见的。在我担任客座编辑期间，我一直在反思自己的身份，并询问/检查我自己的偏见如何影响我的决策过程、手稿修订以及本期插图和照片的选择和格式。这种批判性的自我反省和双盲同行评审过程产生了五份手稿，涉及所有 1 M. Maya 的独特且重要的研究领域，“您的 LGBTQAþ词汇表：您可能没有听说过但应该知道的 7 个短语， ” 喧嚣，2014 年 11 月 11 日，我的大部分 LGBTQþ 身份是不可见的。在我担任客座编辑期间，我一直在反思自己的身份，并询问/检查我自己的偏见如何影响我的决策过程、手稿修订以及本期插图和照片的选择和格式。这种批判性的自我反省和双盲同行评审过程产生了五份手稿，涉及所有 1 M. Maya 的独特且重要的研究领域，“您的 LGBTQAþ词汇表：您可能没有听说过但应该知道的 7 个短语， ” 喧嚣，2014 年 11 月 11 日，我的大部分 LGBTQþ 身份是不可见的。在我担任客座编辑期间，我一直在反思自己的身份，并询问/检查我自己的偏见如何影响我的决策过程、手稿修订以及本期插图和照片的选择和格式。这种批判性的自我反省和双盲同行评审过程产生了五份手稿，涉及所有 1 M. Maya 的独特且重要的研究领域，“您的 LGBTQAþ词汇表：您可能没有听说过但应该知道的 7 个短语， ” 喧嚣，2014 年 11 月 11 日，以及杂志中插图和照片的选择和格式设置。这种批判性的自我反思和双盲同行评审过程产生了五份手稿，涉及所有 1 M. Maya 的独特且重要的研究领域，“您的 LGBTQAþ词汇表：您可能没有听说过但应该知道的 7 个短语， ” 喧嚣，2014 年 11 月 11 日，以及杂志中插图和照片的选择和格式设置。这种批判性的自我反省和双盲同行评审过程产生了五份手稿，涉及所有 1 M. Maya 的独特且重要的研究领域，“您的 LGBTQAþ词汇表：您可能没有听说过但应该知道的 7 个短语， ” 喧嚣，2014 年 11 月 11 日，; Emily Zak，“LGBPTTQQIIAAþ——我们如何从同性恋者那里得到这里”，Ms. Magazine，2013 年 10 月 1 日，.