Dr Marie McLoughlin lectures in dress history with research interests in the intersection of fashion with art practices.
She trained in fashion design at St Martins School of Art and Design and took her doctorate at the University of Brighton. She is particularly interested in fashion illustration, textile design by artists and the teaching and legacy of fashion education of St Martins.
Dr Marie McLoughlin teaches Dress History at the University of Brighton. She trained initially as a fashion designer at St Martin’s School of Art and worked as a designer, particularly in knitwear and film costume, for many years. An MA at Winchester School of Art on wartime clothing restrictions (Utility and Austerity Clothing: Class and Controls in Britain in the 1940s) wasfollowed by a PhD at the University of Brighton. (Fashion, the Art School and the Role of Muriel Pemberton in Degree Level Fashion Education)
Pemberton, the artist who founded the famous Fashion School at St Martin’s School of Art and taught there for over 40 years, had, as a government inspector and advisor, a profound impact on the way fashion is taught throughout the UK. She also taught both Marie and Brighton’s Professor of Dress History, Lou Taylor. A painter of note, she exhibited over 50 paintings at the RA Summer Shows alone, bringing an artist’s sensibility to the teaching of fashion which, Marie believes, continues to pervade the way fashion is taught in the UK. The fact that Brighton’s Fashion and Textile School has its roots in the old art school rather than the technical college is testament to this.
Within Dress History teaching at the University of Brighton Marie teaches twentieth century and contemporary dress and has a particular affection for fellow St Martin’s alumni Galliano, McQueen and Chalayan. Most of her students are practice based students intending to become designers rather than historians.Marie is particularly interested in the areas where fashion and art collide whether this is fashion illustration, textile design by artists or more recent conceptual work by designers like Hussein Chalayan, Julie Verhoeven and Anna-Nicole Ziesche.
She agrees with Philip Treacy who said ‘fashion is not about clothing, it is more important than that’. This is why she particularly welcomes the inter-disciplinary approach to Dress History developed at the University of Brighton by Professor Lou Taylor where an examination of real garments (from the University of Brighton teaching collection) can complement social history and oral testimony.
Another area of special interest is the way Government regulations can affect fashion; from wartime Utility regulations, post-war currency controls (effectively preventing the importation of Paris fashions), the Board of Trade’s encouragement of refugees from fascist Europe and the status of public sector design education.
Bloomsbury Encyclopeadia of Design. Ed .Sorcha O’Brien. Contributed 26 entries on fashion designers.
Journal article: Fashion Theory. Fashion, Royalty, and British Identity: Fashion Exhibitions in London in the Year of the “Jubilympics”. (Vol. 17. Issue 4. pp 467-482)
Text for the book Howard Tangye: Within (Paris and London. Pub. Stinsensqueeze).
Text for this heavily illustrated book about the artist Howard Tangye following the accession into the V&A of a large bequest of his drawings. Tangye teaches womenswear at Central St Martins where he has taught many designers, like Galliano. Marie was deeply involved in the project from the outset, liasing with Tangye and the designers on content, writing the initial blurb to attract funding and suggesting an introduction by V&A curator Abraham Thomas. The book was ‘crowd funded’ through Kickstarter. It has won an award as their most successful publishing venture.
Wrote the chapter ‘Drawing Dreams’ on fashion illustration in Sylvia Backemeyer, ed. Picture This. The Artist as Illustrator. London A & C Black, 2005.
Also obituaries on illustrators Jo Brocklehurst and Elizabeth Suter in the Guardian and the Telegraph.
Book reviews in Costume, Textile and Textile History.
Involved in the organisation of firstname.lastname@example.org.
This is an international conference on Dress in World War 1, partly sponsored by the French government as part of their programme to commemorate the outbreak of WW1.
This is the most recent initiative of the Brighton Dress Collective, of which Marie is a member, which has worked closely with members of the History of Fashion Research group of the Institut d’Histoire du Temps Présent, CNRS for the last 12 years.
The last joint project was the April 2014 conference 'Haute couture, mode et consommation, France - Grande Bretagne, (Couture, fashion, and consumption - Britain/France), 1947-1957. This was one of a series of joint dress history study days covering the 1920-1970 period. For the first time in Anglo/French fashion history research, this dress history colloque focused on a comparative analysis of the differing processes of reconstruction and development in the worlds of haute couture and ready-to-wear in France and Britain in the post WW2 period. A book, co-edited by Marie, is in preparation.