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Kenna Libes is a PhD candidate in Decorative Arts, Design History, and Material Culture at Bard Graduate Center in New York City. She has worked in museums and nonprofits in collections management, textile conservation, and curation, and has Master's degrees in fashion history and museum studies from Brown University and the SUNY Fashion Institute of Technology. Her current areas of research include the dress cultures of marginalized populations in the fashion history canon with a focus on the historical intersections of body size and dress. She also studies historiography and the composition of collections and exhibitions to understand the production of the past and its influence on the present. She has published in the journals 'Dress and Fashion' and 'Style & Popular Culture' and contributed to exhibitions internationally.
With fashion exhibitions featured in more museums than ever before, and the practice of curatorship and textile conservation ever more professionalized, this book provides a timely overview of the most pressing issues regarding diversity in the display of dress. The authors, all highly regarded in the field, share cutting-edge examples of successes and failures in the museal representation of real bodies, real people, and real vestimentary practices. This volume is destined to become indispensable to scholars of fashion curation worldwide. Dr. Julia Petrov Curator, Daily Life and Leisure Royal Alberta Museum Edmonton, Canada author of ""Fashion, History, Museums: Inventing the Display of Dress"" Featuring contributions from leading scholars and curators, the book challenges traditional fashion narratives and advocates for a more inclusive approach to the display and curation of dress. This essential work pushes the boundaries of fashion museology, offering new perspectives on diversity, equity, and the power of bringing the most marginalized to the center. Jonathan Michael Square In this timely and important volume, Libes and her contributors remind us that fashion cannot be divorced from the physically and culturally diverse bodies that wear it. This collection of essays highlights the absence of diversity in many fashion museum exhibitions and calls for new approaches to ensuring representation in future collecting practices and exhibitions. It offers both practical lessons and thoughtful advice for inclusivity and is a must-read for fashion and museum scholars and professionals alike. Dr Sarah A. Bendall Gender and Women's History Research Centre Institute for Humanities and Social Sciences Australian Catholic University
