If the title of this book sounds familiar, you may be thinking of the three-year scholarly initiative of the same name funded by the Humanities in the European Research Area (HERA) between 2010 and 2013, which sought “a much more detailed understanding of how fashion functioned in the past” using “evidence from the early modern period itself rather than assuming that past practices were precursors of contemporary habits,” according to Evelyn Welch, editor of this volume (28). Linking an international who’s who of European historians, curators, and conservators—including Giorgio Riello, Lesley Miller, Johannes Pietsch, Peter McNeil, Clare Browne, and Corinne Th epaut-Cabasset—the collaborative project “Fashioning the Early Modern: Creativity and Innovation in Europe, 1500–1800” addressed not just how clothes were made and used but also how they often were remade, adapted, and reused. This collection of essays and short, object-based case studies—published by Oxford University Press as part of the Pasold Studies in Textile History series—is the fruit of that endeavor. In her introduction, Welch points out that “fashion” is both a noun and a verb, derived from the Latin verb facere, meaning “to make.” In the early modern period, it “was used flexibly, shifting between the concepts of manufacture and novelty” (4). By contrast, adds John Styles, today “it has come to be employed indiscriminately as an exciting, alluring way of saying ‘clothes’” (32). This volume recaptures the word’s historic meaning, revealing how innovation in manufacturing was integral to the aesthetic progression of fashion. Styles opens the collection by debunking false, if longstanding, notions about the early modern period, such as that Eastern dress was stagnant and unchanging, while Western

中文翻译：

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塑造早期现代：欧洲的服饰、纺织品和创新，1500-1800

如果这本书的书名听起来很熟悉，您可能会想到 2010 年至 2013 年由欧洲研究区人文学科 (HERA) 资助的为期三年的同名学术计划，该计划旨在“更详细地了解本卷的编辑伊芙琳·韦尔奇 (Evelyn Welch) 表示，使用“来自近代早期本身的证据，而不是假设过去的做法是当代习惯的先驱”，时尚在过去是如何运作的”(28)。将欧洲历史学家、策展人和保护者的名人——包括 Giorgio Riello、Lesley Miller、Johannes Pietsch、Peter McNeil、Clare Browne 和 Corinne Th epaut-Cabasset——联系起来——合作项目“塑造早期现代：创造力和创新”欧洲，1500-1800”不仅涉及衣服的制作和使用方式，还涉及它们如何经常被重新制作、改编和再利用。这本论文集和简短的、基于对象的案例研究——由牛津大学出版社出版，作为 Pasold 纺织历史研究系列的一部分——是这一努力的成果。韦尔奇在介绍中指出，“时尚”既是名词又是动词，源自拉丁语动词 facere，意思是“制造”。在近代早期，它“被灵活地使用，在制造和新颖的概念之间转换”（4）。相比之下，约翰·斯泰尔斯 (John Styles) 补充道，如今“它已经成为一种令人兴奋、诱人的‘衣服’的说法”（32）。本书重述了这个词的历史意义，揭示了制造业的创新如何成为时尚美学发展不可或缺的一部分。