This exhibition catalogue (worth buying for the photographs alone) documents the artistry and skills of dressmakers who catered to the elite women of Cincinnati' - "Dress". 'One gets a rare glimpse into the business of fashion in this stunning publication...Amneus uses dressmaking as a central theme to merge key issues in the areas of social and labor history during a time of cultural transformation in America. The result is a scholarly work that documents gender roles, equal rights, artisanship, and entrepreneurship' - "Michigan Historical Review". Dressmaking, considered a natural extension of women's proper work in the home, was a common and lucrative employment for women in the nineteenth and early twentieth centuries. It afforded creative expression, prestige in the community, and even the possibility of financial independence. Yet as entrepreneurs, dressmakers faced unique business pressures, and with the advent of department stores and widespread mass production of women's clothing, most were forced out of business. Coinciding with the exhibition Cynthia Amnus organized for the Cincinnati Art Museum, this work examines the nineteenth-century ideology of women's separate sphere, the early feminist movement, women in the workplace, and dressmakers as artisans and professionals. More than 140 stunning custom-made garments, historical photographs, and dressmakers labels document the superb artistic and technical skill of the women who produced fashionable dress in Cincinnati from 1877 to 1922. Bracketing Amnuss incisive study are essays by Anne Bissonnette on the eccentric tea gown, Marla Miller on the pitfalls of researching women's cultural work, and Shirley Teresa Wajda on the dressmakers wealthy clientele. In all, A Separate Sphere offers a careful look into the lives of women struggling with ideological boundaries. Chronicling choices made by and imposed on both working-class women and their affluent counterparts, it reveals how these women managed to enhance their prescribed sphere for themselves and for the community at large.

这本展览目录（仅就照片而言就值得购买）记录了为辛辛那提的精英女性服务的裁缝的艺术性和技能"--《服饰》。在这本令人惊叹的出版物中，人们难得地看到了时尚的商业运作......Amneus以制衣为中心主题，将美国文化转型时期的社会和劳工历史领域的关键问题融合在一起。其结果是一部记录性别角色、平等权利、工匠精神和企业家精神的学术著作'--《密歇根历史评论》。制衣业被认为是妇女在家庭中适当工作的自然延伸，是十九世纪和二十世纪初妇女的一种常见的、有利可图的职业。它提供了创造性的表达，在社区中的声望，甚至有可能实现经济独立。然而，作为企业家，制衣师面临着独特的商业压力，随着百货公司的出现和妇女服装的大规模生产，大多数制衣师被迫停业。配合辛西娅-阿姆纳斯为辛辛那提艺术博物馆举办的展览，这部作品研究了十九世纪妇女独立领域的意识形态、早期女权运动、工作场所的妇女以及作为工匠和专业人士的制衣师。140多件令人惊叹的定制服装、历史照片和裁缝师标签记录了1877年至1922年在辛辛那提生产时尚服装的妇女的精湛艺术和技术。安-比松内特（Anne Bissonnette）关于古怪的茶袍的文章，玛拉-米勒（Marla Miller）关于研究妇女文化工作的陷阱的文章，以及雪莉-特里萨-瓦伊达（Shirley Teresa Wajda）关于裁缝师的富裕客户的文章，将安努斯精辟的研究包围起来。总而言之，《独立的领域》提供了对与意识形态界限斗争的妇女生活的仔细观察。该书记录了工人阶级妇女和她们的富裕同行所做的和强加给她们的选择，揭示了这些妇女如何设法为自己和整个社区加强她们的规定领域。

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