Michael Assis comes to Bard Graduate Center from Tel Aviv University, where he received a BA in Philosophy and Art History and completed an MA in Art History, focusing on early modern Italian art. Following his master’s thesis on Benvenuto Cellini’s seal designs for the Accademia del Disegno (c. 1563), his current research interests lie in medieval and early modern Italian goldsmithing and metalwork, specifically the complex and obscure role goldsmithing served in relation to the other arts. Michael has spent time working with the Medici Archive Project in the Archivio di Stato in Florence and as a visiting graduate student at the University of Toronto. Beyond his academic work, he has worked with the Old Master Paintings department at Tiroche Auction House in Israel and managed several art collections for private dealers, galleries, and corporate entities.

Julie Bellemare researches Chinese decorative arts of the Qing dynasty (1644-1911), focusing on the development of new color technologies across ceramic, enamel, and glass. She holds a BA in Art History and East Asian Studies from McGill University, a Postgraduate Diploma in Asian Art from the School of Oriental and African Studies, and an MSt in the History of Art and Visual Culture from the University of Oxford, where she presented a thesis on design books replicating Asian and Asia-inspired imagery in Europe. She pursued academic fluency in modern and classical Chinese in Taiwan, together with graduate studies in Chinese literature and art history. Her published research explores issues surrounding the cross-cultural legibility of objects. She has previously worked at the Asian art departments of the Montreal Museum of Fine Arts, Brooklyn Museum, and Freer|Sackler.

Adam Brandow brings diverse academic and professional experiences to his doctoral work at BGC. He received a BA in Musicology and German from Bates College (2003), an MA from Bard Graduate Center (2009) and was a PhD student in Art History at the CUNY Graduate Center (2009–2010). He worked as a silver specialist at Christie’s (2010–2014), a furniture restorer at a prominent New York gallery (2015–2016), and was Research Associate in the Department of Arms and Armor at The Metropolitan Museum of Art (2017-2019), where he collaborated on the international loan exhibition The Last Knight: The Art, Armor, and Ambition of Maximilian I. His dissertation will investigate intersections between identity(-ies) and the material lives of the earliest German-speaking communities in the Hudson River Valley, who settled in the region at the beginning of the eighteenth century.

Martina D’Amato’s research interests include the intersection of revivalism and modernism in decorative arts and design, national artistic traditions and transnationalism, and the history and theory of collecting and museums. Her dissertation examines the political motivations behind collecting medieval and Renaissance art in nineteenth-century France and Italy, with a focus on the collections of Louis Carrand (1827-1888) and the Marquise Arconati-Visconti (1840-1923). She holds a BA from New York University (2009) and an MA from the BGC (2012). She has contributed to publications including Salvaging the Past: Georges Hoentschel and French Decorative Arts from the Metropolitan Museum of Art (2013) and The Bloomsbury Encyclopedia of Design (2015). Since 2015, she has worked at Cora Ginsburg LLC, where she researches 19th- and 20th-century textile design. She previously worked at the BGC as Curatorial Fellow for the exhibitions Visualizing 19th-Century New York (2014), The Interface Experience: Forty Years of Personal Computing (2015), and Design by the Book: Illustrating the Chinese Ritual Classics (2017), as well as at the Institute of Fine Arts, New York University; the Frick Collection; and the New-York Historical Society.

William DeGregorio studies the history of western costume and textiles, focusing primarily on the eighteenth century and the early twentieth century. He graduated magna cum laude from Tufts University with a BA in English in 2008 and completed his MA at the Bard Graduate Center in 2012 with a qualifying paper entitled Trompeuse Simplicité: Reconstructing the Oeuvre, Personality, Clientele, and Decline of Augustabernard, 1928-1934. For his work, he was awarded the Clive Wainwright Award. His research interests include the formation of private and institutional costume collections, the historiography of fashion studies, dealers, and the museum exhibition of historic costume, with a particular emphasis on the presentation/collection of eighteenth century costume and accessories. He has contributed to the exhibition catalogues Scaasi: American Couturier (Museum of Fine Arts, Boston, 2010), Staging Fashion, 1880-1920: Jane Hading, Lily Elsie, Billie Burke (Bard Graduate Center, 2012), Salvaging the Past: Georges Hoentschel and French Decorative Arts from The Metropolitan Museum of Art (Bard Graduate Center, 2013), and Elegance in an Age of Crisis: Fashions of the 1930s (Fashion Institute of Technology, 2014). He works as a conservation technician and research assistant at the Museum of the City of New York, most recently working on the exhibition Stephen Burrows: When Fashion Danced, and at Cora Ginsburg LLC as a research assistant, writing for the gallery’s annual catalogue since 2012.

Christina L. De León’s research interests lie in the material culture and decorative arts of the Americas, specifically the impact of international modernist principals on the creation of a regional visual vocabulary during the post-war era. She is also fascinated by the pioneering role of women, who were crucial in the establishment and reception of a modern aesthetic and lifestyle throughout the Americas. From 2010-2016 she was Associate Curator at Americas Society where she worked on modern and contemporary art exhibitions and publications. She co-curated the shows For Rent: Marc Latamie (2012), Cristóbal Lehyt: Iris Sheets (2013), and Told and Untold: The Photo Stories of Kati Horna in the Illustrated Press (2016). De León contributed to the catalogue Moderno: Design for Living in Brazil, Mexico, and Venezuela 1940-1978 and has written articles for the periodical Review and Americas Quarterly. She held previous positions at the Metropolitan Museum of Art and the Cloisters Museum and Gardens.

Joyce Denney received an MA in East Asian Studies at Columbia University in 1999 and worked for several years as a textile specialist in the Department of Asian Art and the Antonio Ratti Textile Center at the Metropolitan Museum of Art, New York. There, she curated small focus exhibitions such as Astonishing Silhouettes: Western Fashions in 19th-Century Japanese Prints (2009) and also wrote essays on textile-related subjects for East Asian exhibition catalogues, such as “Mongol Dress in the 13th and 14th Centuries” in The World of Khubilai Khan: Chinese Art in the Yuan Dynasty (2010). Recently, she served on the curatorial team that produced the exhibition Interwoven Globe: The Worldwide Textile Trade, 1500-1800, held at the Metropolitan Museum in 2013-2014, for which she wrote a catalogue essay entitled “Japan and the Textile Trade in Context.” Her current research takes up where her work on the Interwoven Globe left off, exploring the striking physical, historical, cultural, and intercultural aspects of a seventeenth-century set of monumental wall hangings embroidered in China on the European theme of the Story of Troy.



Lauren Drapala
is primarily interested in 20th century American architecture and design. With a particular focus on immersive decorative interiors (also known as Gesamtkunstwerk or “total works of art”), she is interested in exploring the role of decorative art within the development of early modernism, as well as the issues surrounding interior spaces as they relate to relocation, preservation and fragmentation. She has worked as an architectural conservator on restoration projects throughout the United States and holds a BA in Art History from Smith College and an M.S. in Historic Preservation from the University of Pennsylvania. Continuing research that began during her 2010 masters thesis, she has published her research on the work of decorative artist Robert Winthrop Chanler (1872-1930) in Rediscovering the Fantastic: Robert Winthrop Chanler (2016, Monacelli Press), and is currently serving as a co-curator for a traveling exhibition of Chanler’s decorative work with the Preservation Society of Newport County.

Deena Engel’s
research interests focus on contemporary art, specifically on the conservation and theory of time-based media art. She has a BA from Jackson College of Tufts University in French and German; an MA from SUNY-Binghamton in Comparative Literature with a focus on Literary Translation from French and German; and an MS in Computer Science from the Courant Institute of Mathematical Sciences at New York University. Deena is the Co-Director along with Prof. Glenn Wharton of the Artist Archives Initiative with a focus on leveraging technology to house and disseminate information on contemporary art. She has worked with major museums over the past 12 years on projects which address the challenges involved in the conservation of Time-based media art and of software-based art in particular. Deena Engel has taught undergraduate computer science courses on web and database technologies, as well as courses for undergraduate and graduate students in the Digital Humanities and the Arts and she supervises undergraduate and graduate student research projects in the Digital Humanities and the Arts.

Colin Fanning’s
research interests encompass a range of American and European architecture, design, and craft from the mid-nineteenth century to the present, with current focuses in the history of design pedagogy in the United States, the material culture of childhood, the intersections of postwar craft and counterculture, and the visual and material cultures of spaceflight. He received a BFA in interior design from Syracuse University (2009) and an MA from Bard Graduate Center in 2013. Fanning has held curatorial roles at the Museum of Arts and Design, the American Federation of Arts, and most recently the Philadelphia Museum of Art, where his work focused on modern and contemporary design and architecture. He curated or co-curated the PMA exhibitions The Architecture of Francis Kéré: Building for Community (2016); Design Currents: Oki Sato, Faye Toogood, Zanini de Zanine (2016–17); Channeling Nature by Design (2017); and Dieter Rams: Principled Design (2018–19), and was a consulting curator for Design for Different Futures (2019–20), a major exhibition organized in partnership between the PMA, the Walker Art Center, and the Art Institute of Chicago. Additionally, Fanning has taught the history of modern design in the Westphal College of Arts and Design at Drexel University and works as a freelance writer and editor.


Marjorie Folkman A summa cum laude graduate of Barnard College, where she is currently an Associate Professor of Professional Practice with the Department of Dance, Folkman holds an MA from Columbia University’s Graduate School of Arts and Sciences. A PhD candidate at the Bard Graduate Center, Folkman is researching European interwar visual culture and its intersections with choreography. Folkman was a member and principal performer with Mark Morris Dance Group (1996-2007), Martha Clarke’s Garden of Earthly Delights (2007-2009), Merce Cunningham’s Repertory Understudy Group, and choreographer Sara Rudner among others. Choreographic projects have included productions for Odyssey Opera Boston (La belle Hélène), Boston Baroque (Pigmalion and Les Indes Galantes), L’Opéra Français de New York (Faust), Bard SummerScape (Der Ferne Klang, Le Roi Malgré Lui and Oresteia directed by Thaddeus Strassberger), Paul’s Case for the Prototype Festival/New York, and collaborations with visual artist Kevork Mourad at National Sawdust/Brooklyn and the Metropolitan Museum of Art.. Folkman has taught with Lincoln Center Institute, as a Guest Artist at Phillips Academy Andover and Mount Holyoke College, as an Adjunct Lecturer in Dance History at Sarah Lawrence College, and as Visiting Assistant Professor in Dance and First Year Seminar with affiliations in Language & Thinking, at Bard College.

Nicholas de Godoy Lopes
received his Master’s in the History of Design and Curatorial Studies in the Parsons/Cooper-Hewitt program. His thesis studied Art Nouveau pattern books as disseminators of theories of ornament centered on nature and shaped by the natural sciences, particularly biology. His interests include historical theories of ornament, design and design theory in nineteenth-century Europe and the US, intersections of design and science, historical practices of displaying material culture, and the epistemological dimensions of design and craft. He also studies the design of contemporary tabletop games. Before coming to the BGC, he spent ten months as the McDermott intern in Decorative Arts and Design at the Dallas Museum of Art. He has also interned in the European Sculpture & Decorative Arts department at the Met and was a fellow in the Wallcoverings department at the Cooper-Hewitt.

Christine Griffiths is a Ph.D. Candidate in early modern European visual and material culture, under the supervision of Professor Deborah Krohn. She holds a BA in Art History and Anthropology from Stony Brook University and an MA in Decorative Arts, Design History, and Material Culture from Bard Graduate Center. Her work focuses on artisanal practices, gardens, and material cultures of natural history, especially on the circulation of objects, books, and people between Britain, Europe, and the larger world. Christine’s dissertation, From Garden to Toilette: Cultivating Perfume in Early Modern Britain, highlights the making of perfume through close study of its constituent raw materials, including roses, orange blossom, and ambergris. Her work takes an interdisciplinary approach, employing recent methodologies from art history, anthropology, and history of the book, science, and medicine. Christine’s research has been supported by fellowships and grants from Dumbarton Oaks Research Library and Collection, The Andrew W. Mellon Foundation, New York Botanical Garden, Rare Book School, and the British Society for the History of Science.


Anne Hilker studies the relationship between law and things. Combining legal, archival, and historical research, her dissertation examines gifts to the Metropolitan Museum of Art, with a focus on the negotiation and terms of conditional gifts and the careers of things as they move through museum collections. Her work has been supported by the Center for the History of Collecting at the Frick Art Reference Library. She also studies the Vietnam Veterans Memorial in publications that include Agents of Faith, edited by Ittai Weinryb (Bard Graduate Center, 2018), and the Journal of Design History (forthcoming, 2021). She co-curated Erica Wilson: A Life in Stitches, an online exhibition at the Winterthur Museum, and co-authored the accompanying book of the same name (forthcoming, Winterthur Museum, 2020). She holds an MA in the History of Design from Parsons and the Cooper Hewitt Smithsonian Design Museum. She also holds a BSJ from Northwestern University’s Medill School of Journalism and, from the University of Southern California, a JD (Law School) and MA, Communications Management (Annenberg School of Communications). She practiced law for 25 years as a tax and trusts and estates lawyer in New York and California, including five years of service as chair of the New York City Bar Association’s Committee on Trusts, Estates, and Surrogate’s Courts.


Michelle Jackson-Beckett is a senior lecturer in the department of Design History and Theory at the University of Applied Arts Vienna where she is concurrently the archivist of the Victor J. Papanek Foundation. She holds a master’s degree in the History of Design and Decorative Arts from Parsons School of Design and the Cooper Hewitt Smithsonian Design Museum, and a bachelor’s degree in German Language/Literature and Art History from Ludwig-Maximilians-Universität, Munich and Saint Joseph’s University, Philadelphia. Michelle researches modern Central European and American design and architectural history with a dissertation focused on Viennese interpretations of modern dwelling, humanism, and accessibility: Vienna’s Other Modernism: Design and Dwelling, 1918-1968. Formerly she was an adjunct professor at The New School, Parsons School of Constructed Environments and the School of Art and Design History and Theory, as well as the Glass Department at Rhode Island School of Design. She has previously served as the inaugural Director of Archives and Publications at R & Company design gallery in Tribeca, and held positions at Neue Galerie New York, Museum for German and Austrian Art, Cooper Hewitt Smithsonian Design Museum, and Sotheby’s 20th-Century Design department. Michelle’s areas of research and teaching range broadly across the history of modern architecture, interiors, and design in Europe and the United States, including the history of industrial design, labor studies, modern design pedagogy, glass history, women in architecture and design, and design archives. Her recent publications include edited volumes: OBJECTS: USA 2020 (co-editor, Glenn Adamson and Mina Warchavchik Hugerth, New York: Monacelli Press and R & Company, 2020); Wendell Castle: Scrapbook 1958-1980 (New York: Damiani, 2020); José Zanine Caldas (co-editor, Mina Warchavchik Hugerth and Otavio Nazareth, São Paulo: Olhares, 2019).

Chika Jenkins
studies histories and concepts of ornament. She received her BA in philosophy and music from Brown University, and pursued graduate work in musicology at Columbia University. However, a chance encounter with E. H. Gombrich’s The Sense of Order convinced her to change her course. She subsequently earned her MA in art history at Hunter College, where she wrote her thesis on the use of ornament at the Vienna Secession’s fourteenth exhibition, known as the Beethoven Exhibition. She has published articles on Hans Hofmann’s early works on paper and several encyclopedic entries on food. She is also a proud public school teacher, serving as an adjunct lecturer at the Music Department at the City College of New York.


Tova Kadish studies the historical archaeology of North America. After completing her BA in Anthropology at the University of Chicago, she received an MPhil in Archaeology from the University of Cambridge. Her thesis focused on the material construction of family and community in a colonial-era Native American and European site on Cape Cod. Her current research interests center on the domestic consumption of everyday objects and on the effects of mass-production. She previously worked as an archaeology intern at the Museum of the City of New York. Before coming to the BGC, she worked for several years as a contract archaeologist on sites throughout New York state.

Elizabeth Koehn is interested in architecture, design, and consumer culture across the 20th century and through to the present. She completed her MA at the Bard Graduate Center in 2020 with her qualifying paper Designing Destruction: Archizoom Associati’s Superonda Sofa as Radical Critique, in which she examined the formal and material qualities of Archizoom’s 1966/67 seating design in the context of the group’s theoretical projects, essays and archival materials questioning the relationship between design and consumerism. In 2019, Elizabeth interned in the Design, Architecture and Digital curatorial department at the Victoria & Albert Museum in London, where she worked directly with the museum’s Rapid Response Collecting curator on new acquisitions. Prior to joining the BGC, Elizabeth held positions working with artists at the New York-based galleries Gavin Brown’s Enterprise and David Zwirner after earning her BA in History and Art History from Oberlin College in 2009.

Christian Larsen is Curator at Wolfsonian-Florida International University, where his research focuses on nineteenth and twentieth-century Latin American material culture with a specialization in Brazil. He has been honored with the Emily Hall Tremaine Exhibition Award for Philodendron: From Pan-Latin Exotic to American Modern (November 2015) and is organizing a major exhibition and catalogue on the “ties of singular intimacy” between Cuba and the United States as documented in photography and material culture during Cuba’s Republican era (1902-1959). As a former curator in the Architecture & Design Department, MoMA (2000-08), he organized exhibitions including Digitally Mastered (2006-07), 50 Years of Helvetica (2007-08), and Ateliers Jean Prouvé (2008-09). He received his BA in English and French from Amherst College (2000), and MA (2010) and MPhil (2013) in Decorative Arts, Design History, and Material Culture from the Bard Graduate Center, where he was a former curatorial fellow. He is currently a doctoral candidate finishing his dissertation Aquarela do Brasil: Transnational Flows of Brazilian Design and Material Culture. His recent publications include two chapters in History of Design, Decorative Arts, and Material Culture 1400-2000 (Yale University Press).


Julia Grace Lillie is a PhD Candidate studying the print culture of early modern Northern Europe. Her dissertation investigates the effects of the expulsion of reformed religious groups from the Southern Netherlands upon print, book and map production in late sixteenth-century Cologne. Julia’s work deals with the creation and dissemination of knowledge through print, artist networks across national borders, and the education and scholarly ambitions of printmakers. She received a BA in Art History and Modern History from the University of St. Andrews (2008) and an MA from the BGC (2014). She has held positions in the Department of Drawings and Prints at The Metropolitan Museum of Art, and at International Print Center New York.

Boxi Liu researches Chinese art and archaeology from the seventh through the thirteenth century. He received his BA from the University of Delaware where he double majored in Art Conservation and Japanese Studies. Before coming to the BGC, he studied at the Soka University in Japan for a year and completed his MA in Eastern Asian Languages and Civilizations at the University of Pennsylvania in 2019. His current research primarily concentrates on the decorative and funerary arts of the Liao (907-1125), Song (960-1279), and Jin (1115-1234) dynasties. He has previously worked as a conservation intern at the University of Pennsylvania Museum of Archaeology and Anthropology, the Hagley Museum and Library, and the Shaanxi History Museum in China. He has contributed to the Hagley Museum and Library’s traveling exhibition Power of Innovation: Patent Models from the United States of America (2018) held at the National Museum of China.

Rebecca Jumper Matheson is a fashion historian, focusing on nineteenth- and twentieth-century American women’s dress. She uses interdisciplinary approaches to dress studies as a means of discovering women’s narratives as designers, makers, sellers, and consumers. Her recent projects have dealt with millinery, leather goods, teenage fashion in the 1940s, and dress for long-distance train travel. She is the author of two monographs, The Sunbonnet: An American Icon in Texas (2009) and Young Originals: Emily Wilkens and the Teen Sophisticate (2015). She has also published articles in journals such as Dress, essays in proceedings publications from the Museum of Fine Arts Houston/Bayou Bend’s Warren Symposium and the Dublin Seminar for New England Folklife, as well as contributed a chapter to The Places and Spaces of Fashion: 1800–2006 (2008). Matheson is an adjunct instructor in the MA program in Fashion and Textile Studies at the Fashion Institute of Technology, and was previously employed in the Costume Institute, the Metropolitan Museum of Art. She holds a BA from Rice University, a JD from the University of Texas at Austin, and an MA from FIT, where she received an Educational Foundation for the Fashion Industries Award.

Emma McClendon is the Associate Curator of Costume at The Museum at the Fashion Institute of Technology (FIT), where she has curated several exhibitions including Denim: Fashion’s Frontier (2015), The Body: Fashion and Physique (2017), and Power Mode: The Force of Fashion (2019). Her research focuses on the social and political implications of fashion with a particular interest in body politics and the history of standardized sizing. Emma received a BA in Art History from the University of St. Andrews and an MA in the History of Dress from the Courtauld Institute of Art. She recently co-edited a special issue of the academic journal Fashion Theory with Dr. Joanne Entwistle around the theme of her 2017 exhibition The Body: Fashion and Physique. Other recent publications include, Yves Saint Laurent + Halston: Fashioning the 70s (2015, Yale University Press), Denim: Fashion’s Frontier (2016, Yale University Press), and Power Mode: The Force of Fashion (2019, Skira).



Geoffrey Ripert’s research interests focus on French eighteenth-century Decorative Arts, particularly the taste for hardstones and marble objects, the reasons why these were mounted, as well as their display and function in the secular interior. He is interested in investigating how these were created, from the mining of raw material to the finished work of art, including the patrons, artisans and intermediaries involved in the process. He also explores the survival of Greco-Roman antiquity in the material culture of eighteenth-century Europe. Previously, he was Curatorial Assistant for Decorative Arts at the Frick Collection for almost four years, a fellow at Cooper Hewitt, Smithsonian Design Museum, worked as assistant to an art dealer specialized in European Decorative Arts in Paris, and interned at the Musée du Louvre. He holds an MA in Curatorial Studies and Art Collection Management from the Ecole du Louvre, an MA in the History of the Arts from the Ecole Pratique des Hautes Etudes, Paris, and a BA in the History of Art and Archaeology from Sorbonne University.

Antonio Sanchez Gomez’s
research interests lie in the material culture, design history, and history of technology of early-twentieth-century Latin America. He has a BA in Graphic Design and an MA in History and Theory of Art, Architecture, and the City from the National University of Colombia and an MA in Decorative Arts, Design History, and Material Culture from the Bard Graduate Center. In his native Colombia, Antonio taught design history and theory courses at various universities and published articles on the material culture of domestic and urban spaces in Bogota. He is also the author of the book Manos al agua: una historia de aguas, lavado de ropas y lavanderas en Bogotá [Hands in the Water: A History of Water, Clothes Washing, and Washing Women in Bogota.] His dissertation examines the dynamics of failure, adaptation, and identity formation in the processes of acculturation of US technology in early 1920s Colombia.



Sarah Scaturro is the Eric and Jane Nord Chief Conservator at the Cleveland Museum of Art, where she is in charge of all conservation and analytical laboratories and the preparatory, framing, and conservation imaging areas. From 2012 to 2020 she was the Head Conservator of The Costume Institute in the Metropolitan Museum of Art, managing the preservation of the fashion collection, the safe display of fashion, and the development of the conservation research program. In that role she helped create the Museum’s most visited exhibitions including Heavenly Bodies: Fashion and the Catholic Imagination and China: Through the Looking Glass. Drawn to Bard Graduate Center because of its multi- and cross-disciplinary focus and its “Cultures of Conservation” initiative, she studies conservation theory and history, fashion and textile theory, the role of the museum in the creation of knowledge, and the intersectional politics of cultural heritage. Her research interests also include the materiality and rematerializing of fashion and the preservation of synthetic materials found in 20th and 21st century objects. Previously, she was the Assistant Fashion Curator and Textile Conservator at the Cooper-Hewitt, Smithsonian Design Museum. She has curated several exhibitions, most recently The Secret Life of Textiles: Synthetic Materials at the Metropolitan Museum of Art. She is currently working on a book mapping the disciplinary boundaries of fashion studies. She earned a BA, summa cum laude, from the University of Colorado, Boulder, and an MA at the Fashion Institute of Technology, where she received the SUNY Chancellor’s Award for Academic Excellence. She can be found online at www.exhibitingfashion.com.

Genny Schiel’s
research interests include the conservation history of objects and sites, the documentation of these campaigns, the conservation of indigenous items in Western collections and global approaches to decolonizing conservation. She has a background in historic preservation, primarily of architecture and sites, and landmark advocacy. Schiel received an MArch from Auckland University and a MS in Historic Preservation from Pratt Institute

Kate Sekules
focuses on the history and practice of textile and clothing repair, and related fields, including eighteenth to twentieth century vernacular clothing, and the secondhand trade. She received an MA in Costume Studies from New York University, with a thesis examining the culture of stockings and their upkeep in late-nineteenth century New York. Sekules has lectured on the techniques, history and context of mending at Parsons, NYU, the Fashion Institute of Technology, the Textile Arts Center, RISD Museum, Tufts, Drexel and Columbia University Chicago, and has presented research at the Textile Society of America, Costume Society of America, and the Association of Dress Historians, UK. She is a board member of the UK-based Ethical Fashion Forum and Common Objective, and sits on the advisory council of the New Standard Institute, USA. Her book MEND! A Refashioning Manual and Manifesto was published by Penguin in fall 2020.

Courtney A. Stewart is Senior Research Assistant in the Department of Islamic Art at the Metropolitan Museum of Art, where she has worked on exhibition research and the permanent collection since 2010. Stemming from interests piqued during the research of Golconda diamonds for the exhibition Sultans of Deccan India: Opulence and Fantasy (2015), Courtney’s work focuses on the history and cultural significance of jewelry and gemstones, and the intersection of art and nature. She holds an MA from Bard Graduate Center (2010), an MA in Museum Studies from the University of Toronto (2005), a BA Honours in Comparative Literature from Western University, in London, Canada (2003), and is completing the Graduate Gemologist program at the Gemological Institute of America. Courtney has taught Islamic art history at the University of Toronto and New York University.

Elizabeth St. George is Assistant Curator, Decorative Arts at the Brooklyn Museum. Previously, she was Senior Research Associate at the Metropolitan Museum of Art, where she assisted with the renovation of the institution’s British Sculpture and Decorative Arts galleries. She has also held positions at Pratt Institute, the Museum of Arts and Design, and Bard Graduate Center, where she worked on the exhibitions Knoll Textiles: 1945–2010 and William Kent: Designing Georgian Britain, among others. Elizabeth is a specialist in nineteenth- and twentieth-century architecture and design and is currently a doctoral candidate at Bard Graduate Center, from which she also received her MA Her dissertation is a study of the migration of modernist Czechoslovak artists, designers, and architects to America from the 1920s through the postwar period.


Amanda Thompson, a PhD candidate, works at the intersection of Native American Art and Critical Craft Studies. Her dissertation, Miccosukee and Seminole Patchwork: Craft, Sovereignty, and Settler Colonial Relations, creates a cultural history of the emergent Native fashion of patchwork attendant to how it performs claims to cultural distinction and sovereignty for Florida’s Native communities while looking critically at how it has been consumed, managed, and appropriated by non-Native women. Amanda is a 2020-2021 Smithsonian American Art Museum Research Fellow, and has received funding from the American Philosophical Society to support her dissertation research. Her MA thesis on the depiction of Indigenous craft and domesticity in late nineteenth century women’s travel journalism was awarded BGC’s Clive Wainwright Award. Amanda currently serves on the Board of Directors of the Tomaquag Museum, an Indigenous-run institution committed to expanding knowledge of the Native cultures and peoples of Southeastern New England, and has


Leonie Sophie Treier is a museum anthropologist focusing on the histories of collecting and representing Native American material culture in museums (and beyond). During a visiting term at the University of California, Los Angeles she developed a keen interest in the relations between home communities and museums, which she engaged with further in her fieldwork with members of Santa Clara Pueblo, New Mexico during her MPhil in Visual, Material and Museum Anthropology at the University of Oxford. At the BGC and as a pre-doctoral fellow at the National Museum of Natural History, Smithsonian Institution, she is conducting her dissertation research on George Catlin’s Indian Gallery focusing on the previously neglected “ethnographic” objects in his multi-media exhibition. She analyzes how specific disciplinary concerns have informed scholarly and museological (dis)engagement with this materially hybrid and ethnographically ambiguous object collection, thereby shedding light on both historical and contemporary constructions of Native American cultural identity and change under colonialism.


Rebecca C. Tuite is a fashion historian and writer from London. She graduated from the University of Exeter with a BA (Hons) in English (Class I), and completed part of her undergraduate studies at Vassar College in New York. She also holds a MA in Fashion Journalism (Distinction Honours) from London College of Fashion. Her research interests include film and costume, fashion photography, twentieth-century American fashion, Sylvia Plath and fashion, as well as the history of women’s education in the United States, with a particular focus on the clothing and campus culture at the Seven Sisters Colleges. Rebecca’s work has been published in Fashion Theory: The Journal of Dress, Body and Culture, and she is the author of Seven Sisters Style: The All-American Preppy Look (Rizzoli), and The 1950s in Vogue: The Jessica Daves Years, 1952-1962 (forthcoming from Thames & Hudson).

Xiaoyi D. Yang is interested in traditional East Asian decorative arts and material culture. Her research areas are Chinese and Japanese ceramics, medieval and early modern Japanese tea culture, East-West commercial and cultural interaction, and the recontextualization of East Asian objects in Western museums. In particular, she works on the aesthetic and technological exchanges between Chinese, Japanese, and European potters since the late sixteenth century and aims to shed new light on less well-known kilns. Yang held an MA degree from Columbia University and had studied at the Central University of Nationalities, Peking University, etc. She has done internships at the American Museum of Natural History, Japan Society, Shanghai Museum, and National Museum of China.