Abstract

Fashion conservation practices could overlap with sustainable fashion design methods in some instances, and one of the most prominent upcycling methods, "repair," is such an example. Sustaining the longevity of garments and repairing the damages to give multiple lives to a garment is a common intent for both practices, yet, the interventions and manifestations of repair could be opposite intentions. This interview with Sarah Scaturro reflects her experiences of repairing fashion objects from both worlds of fashion, inside the museum where delicate skills and in-depth knowledge are required, and outside where imperfections and practical applications are received well. This paper suggests that a garment’s meanings deepen and change as the conservator interacts with each object for a long time, creating diverse memories. Fashion conservatory practices are similar to the Bergsonian sense of time, where fashion garments mean more than a temporal object whose duration, time, and memory are involved in every detail of the process. Thus, the perceptions about the fashion objects differ, and the decisions do not necessarily follow a linear path.

摘要

在某些情况下，时尚保护实践可能与可持续时尚设计方法重叠，最突出的升级回收方法之一“修复”就是这样的例子。维持服装的寿命并修复损坏的部分以赋予服装多次生命是这两种做法的共同意图，然而，修复的干预和表现可能是相反的意图。莎拉·斯卡图罗 (Sarah Scaturro) 的这次采访反映了她修复时尚物品的经历，来自时尚的两个世界：在博物馆内，需要精湛的技巧和深入的知识；在博物馆外，不完美的地方和实际应用很受欢迎。这篇论文表明，随着管理员与每件物品长时间互动，一件衣服的含义会加深和改变，从而创造出不同的记忆。时尚学院的做法类似于柏格森的时间感，其中时尚服装的意义不仅仅是一个时间对象，其持续时间、时间和记忆涉及过程的每个细节。因此，对时尚对象的看法不同，决策不一定遵循线性路径。