In the spring of 2023, my father, Arturo, died of brain cancer at the age of 55, after a decade of illness. As he was dying, I began to process my anticipatory grief by writing about my emotional attachments to his clothing. Drawing on material culture, affect and design theory, this article looks at my family’s personal experience of my father’s illness and death to investigate the emotional possibilities and limits of garments belonging to palliative care patients and their loved ones. By looking closely at the material resonances of my father’s clothing while he died, this article explores how clothes reflect the confusing nature of time, grief and love when losing a parent to long-term illness. In theorizing the experience of losing a parent through a material culture lens, this article explores the liminality of anticipating a significant familial loss and the affective qualities of the garments that endure through it.
{"title":"Material ambiguities of losing a parent: Time, clothing and grief during terminal illness","authors":"Isabel Mundigo-Moore","doi":"10.1386/infs_00113_1","DOIUrl":"https://doi.org/10.1386/infs_00113_1","url":null,"abstract":"In the spring of 2023, my father, Arturo, died of brain cancer at the age of 55, after a decade of illness. As he was dying, I began to process my anticipatory grief by writing about my emotional attachments to his clothing. Drawing on material culture, affect and design theory, this article looks at my family’s personal experience of my father’s illness and death to investigate the emotional possibilities and limits of garments belonging to palliative care patients and their loved ones. By looking closely at the material resonances of my father’s clothing while he died, this article explores how clothes reflect the confusing nature of time, grief and love when losing a parent to long-term illness. In theorizing the experience of losing a parent through a material culture lens, this article explores the liminality of anticipating a significant familial loss and the affective qualities of the garments that endure through it.","PeriodicalId":42103,"journal":{"name":"International Journal of Fashion Studies","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2024-05-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141120758","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article explores the ways in which fashion consumption shaped the understandings of citizenship and belonging in colonial and postcolonial Nigeria and Brazil. It focuses on ankara , a printed textile that was brought to West Africa by European merchants and Christian missionaries. The article examines how African materials, such as ankara , challenged modern beauty standards and have been used to control people during colonization. In Nigeria, ankara became a symbol of the new Christian citizen, while in contemporary Brazil, it was used to challenge western fashion and celebrate African heritage. The article uses visual art, literature and interviews with fashion designers in Rio de Janeiro, São Paulo and Salvador to show how ankara has become a part of Afrocentric Brazilian fashion. Overall, the study of ankara shows how fashion has been used as a tool of oppression and how its oppressive history is in the process of changing, thanks to modern Afro-Brazilian fashion designers.
{"title":"Reclaiming tradition, fashioning citizenship: Ankara in contemporary Brazilian Afrocentric fashion","authors":"Dandara Maia","doi":"10.1386/infs_00094_1","DOIUrl":"https://doi.org/10.1386/infs_00094_1","url":null,"abstract":"This article explores the ways in which fashion consumption shaped the understandings of citizenship and belonging in colonial and postcolonial Nigeria and Brazil. It focuses on ankara , a printed textile that was brought to West Africa by European merchants and Christian missionaries. The article examines how African materials, such as ankara , challenged modern beauty standards and have been used to control people during colonization. In Nigeria, ankara became a symbol of the new Christian citizen, while in contemporary Brazil, it was used to challenge western fashion and celebrate African heritage. The article uses visual art, literature and interviews with fashion designers in Rio de Janeiro, São Paulo and Salvador to show how ankara has become a part of Afrocentric Brazilian fashion. Overall, the study of ankara shows how fashion has been used as a tool of oppression and how its oppressive history is in the process of changing, thanks to modern Afro-Brazilian fashion designers.","PeriodicalId":42103,"journal":{"name":"International Journal of Fashion Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136152454","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The institution of slavery had a profound and enduring influence on the culture of Brazil, particularly in fashion. The early trans-Atlantic slave trade was dominated by the Portuguese, beginning in the sixteenth century; the importation of enslaved Africans to Brazil continued well into the nineteenth century, contributing to Brazil’s large Black population. Enslaved individuals actively used fashion to express their African heritage and resist the hierarchy of slavery. Fashion also served as a tool for power and control, with clothing choices reflecting social status. During pre-Lenten Carnaval celebrations, social hierarchies were temporarily overturned. African cosmologies influenced dressing, with elements like jewellery and ceremonial colours conveying spiritual significance. Contemporary Afro-Brazilian designers continue to incorporate these elements, thereby highlighting the dynamic nature of Afro-Brazilian fashion.
{"title":"Moda Negra, past and present","authors":"Jonathan Michael Square","doi":"10.1386/infs_00092_2","DOIUrl":"https://doi.org/10.1386/infs_00092_2","url":null,"abstract":"The institution of slavery had a profound and enduring influence on the culture of Brazil, particularly in fashion. The early trans-Atlantic slave trade was dominated by the Portuguese, beginning in the sixteenth century; the importation of enslaved Africans to Brazil continued well into the nineteenth century, contributing to Brazil’s large Black population. Enslaved individuals actively used fashion to express their African heritage and resist the hierarchy of slavery. Fashion also served as a tool for power and control, with clothing choices reflecting social status. During pre-Lenten Carnaval celebrations, social hierarchies were temporarily overturned. African cosmologies influenced dressing, with elements like jewellery and ceremonial colours conveying spiritual significance. Contemporary Afro-Brazilian designers continue to incorporate these elements, thereby highlighting the dynamic nature of Afro-Brazilian fashion.","PeriodicalId":42103,"journal":{"name":"International Journal of Fashion Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136153562","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Maria Auxiliadora da Silva, an Afro-Brazilian painter in the early twentieth century, was born into an artistic family. Her artwork, which reflects everyday life and Afro-Brazilian culture, includes personal memories and experiences. This article focuses on how Silva portrayed clothing and textiles in her paintings, particularly in terms of female representations and Black religiosity. Three of her works in the collection of the Museu de Arte de São Paulo Assis Chateaubriand (MASP) will serve as starting points for discussing the intersection of fashion studies, art history and decolonial interpretations.
{"title":"Unveiling narratives through paint, dress and embroidery: Exploring representations of Black people in the art of Maria Auxiliadora da Silva","authors":"Hanayrá Negreiros","doi":"10.1386/infs_00096_1","DOIUrl":"https://doi.org/10.1386/infs_00096_1","url":null,"abstract":"Maria Auxiliadora da Silva, an Afro-Brazilian painter in the early twentieth century, was born into an artistic family. Her artwork, which reflects everyday life and Afro-Brazilian culture, includes personal memories and experiences. This article focuses on how Silva portrayed clothing and textiles in her paintings, particularly in terms of female representations and Black religiosity. Three of her works in the collection of the Museu de Arte de São Paulo Assis Chateaubriand (MASP) will serve as starting points for discussing the intersection of fashion studies, art history and decolonial interpretations.","PeriodicalId":42103,"journal":{"name":"International Journal of Fashion Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136153573","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The essay briefly discusses the use of T-shirts that affirm Black identity in Brazil.
这篇文章简要地讨论了在巴西使用肯定黑人身份的t恤。
{"title":"I Africanize São Paulo","authors":"Reighan Gillam","doi":"10.1386/infs_00099_7","DOIUrl":"https://doi.org/10.1386/infs_00099_7","url":null,"abstract":"The essay briefly discusses the use of T-shirts that affirm Black identity in Brazil.","PeriodicalId":42103,"journal":{"name":"International Journal of Fashion Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136153570","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article delves into the remarkable work and journey of Goya Lopes, an Afro-Brazilian designer, entrepreneur and activist. It explores the intersection of fashion and art within her designs of patterned fabrics, which encompass a wide range of everyday and unique garments, household items and more. The discussion highlights pivotal moments in Lopes’s career, including her 2008 solo exhibition The African Diaspora in Brazil , her collaborative book Imagens da Diáspora (‘Images of the diaspora’) with Brazilian historian Gustavo Falcón in 2010 and her 2017 installation Sentidos Afro-Baianos (‘Afro-Bahian senses’). Through examining select fabric patterns, the article unveils their significance as integral components of Lopes’s ongoing anti-racist activism, which has spanned over five decades from the region of Bahia in northeastern Brazil. Lastly, it delves into Lopes’s unique conceptualization of her fabrics as axós , drawing on the Yoruba term for aso (‘cloth’), and highlights their role as empowering, protective and militant Afro-diasporic mantles. The article underscores how Lopes employs fashion design as a form of activism and a subtle yet potent means to propagate political ideas.
这篇文章深入研究了戈雅·洛佩斯(Goya Lopes)非凡的工作和旅程，他是一位非裔巴西设计师、企业家和活动家。它在她的图案织物设计中探索了时尚和艺术的交叉点，其中包括广泛的日常和独特的服装，家居用品等。讨论突出了Lopes职业生涯中的关键时刻，包括她2008年的个展《散居巴西的非洲人》，2010年与巴西历史学家Gustavo Falcón合作出版的《散居非洲人的影像》(Imagens da Diáspora)，以及2017年的装置作品《非洲-巴伊安的感觉》(Sentidos Afro-Baianos)。通过对精选织物图案的研究，本文揭示了Lopes正在进行的反种族主义活动的重要组成部分，该活动从巴西东北部的巴伊亚地区持续了50多年。最后，它深入探讨了Lopes对她的织物的独特概念axós，借鉴了约鲁巴语中aso(“布”)的术语，并强调了它们作为赋予，保护和激进的非洲流散斗篷的作用。这篇文章强调了洛佩斯如何将时装设计作为一种行动主义形式，以及一种微妙而有力的宣传政治思想的手段。
{"title":"Axó of the spider woman: Black activism in Goya Lopes’s patterned fabrics","authors":"Roberto Conduru","doi":"10.1386/infs_00093_1","DOIUrl":"https://doi.org/10.1386/infs_00093_1","url":null,"abstract":"This article delves into the remarkable work and journey of Goya Lopes, an Afro-Brazilian designer, entrepreneur and activist. It explores the intersection of fashion and art within her designs of patterned fabrics, which encompass a wide range of everyday and unique garments, household items and more. The discussion highlights pivotal moments in Lopes’s career, including her 2008 solo exhibition The African Diaspora in Brazil , her collaborative book Imagens da Diáspora (‘Images of the diaspora’) with Brazilian historian Gustavo Falcón in 2010 and her 2017 installation Sentidos Afro-Baianos (‘Afro-Bahian senses’). Through examining select fabric patterns, the article unveils their significance as integral components of Lopes’s ongoing anti-racist activism, which has spanned over five decades from the region of Bahia in northeastern Brazil. Lastly, it delves into Lopes’s unique conceptualization of her fabrics as axós , drawing on the Yoruba term for aso (‘cloth’), and highlights their role as empowering, protective and militant Afro-diasporic mantles. The article underscores how Lopes employs fashion design as a form of activism and a subtle yet potent means to propagate political ideas.","PeriodicalId":42103,"journal":{"name":"International Journal of Fashion Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136153576","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article explores decolonial fashion ethnography, focusing on the convergence of media and fashion in Angola and Brazil. Through fieldwork research, the article examines the production and circulation of fashion goods. The article emphasizes the need to decolonize the media and fashion industries, proposing the Antes de Ontem method for decolonial fashion ethnography. This method encourages a shift away from Eurocentric and binary thinking, promoting inclusivity and diversity in fashion research. The author emphasizes the coloniality of dress and the perpetuation of structural and cultural racism within the fashion industry. The article concludes by advocating for the integration of Afro-Brazilian fashion history and knowledge, challenging structural racism and Eurocentrism in the industry.
本文探讨了非殖民化的时尚人种学，重点关注安哥拉和巴西媒体和时尚的融合。本文通过实地调查，考察了时尚商品的生产和流通。文章强调了媒体和时尚产业非殖民化的必要性，提出了非殖民化时尚人种学的Antes de Ontem方法。这种方法鼓励摆脱以欧洲为中心和二元思维，促进时尚研究的包容性和多样性。作者强调了服装的殖民性，以及时尚行业中结构性和文化种族主义的延续。文章最后主张整合非裔巴西人的时尚历史和知识，挑战行业中的结构性种族主义和欧洲中心主义。
{"title":"Decolonial fashion ethnography: ‘Before Yesterday’ method","authors":"Mi Medrado","doi":"10.1386/infs_00095_1","DOIUrl":"https://doi.org/10.1386/infs_00095_1","url":null,"abstract":"This article explores decolonial fashion ethnography, focusing on the convergence of media and fashion in Angola and Brazil. Through fieldwork research, the article examines the production and circulation of fashion goods. The article emphasizes the need to decolonize the media and fashion industries, proposing the Antes de Ontem method for decolonial fashion ethnography. This method encourages a shift away from Eurocentric and binary thinking, promoting inclusivity and diversity in fashion research. The author emphasizes the coloniality of dress and the perpetuation of structural and cultural racism within the fashion industry. The article concludes by advocating for the integration of Afro-Brazilian fashion history and knowledge, challenging structural racism and Eurocentrism in the industry.","PeriodicalId":42103,"journal":{"name":"International Journal of Fashion Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136152455","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Fashion in the twenty-first century has been heavily impacted by social justice movements. Given this scenario, this article aims to discuss the reflexes that the Black Lives Matter (BLM) movement caused in the global fashion industry from the year 2020, especially in Brazil. From the analysis of the events that motivated this movement, as well as a critical reading of the Brazilian historical-social formation context, I seek to present the emerging brands of racialized creators that are being highlighted at São Paulo Fashion Week, one of the most important fashion events in the country and Latin America.
21世纪的时尚受到社会正义运动的严重影响。鉴于这种情况，本文旨在讨论黑人生命问题(BLM)运动从2020年起在全球时尚界引起的反应，特别是在巴西。通过对推动这一运动的事件的分析，以及对巴西历史社会形成背景的批判性解读，我试图展示在巴西和拉丁美洲最重要的时尚活动之一圣保罗时装周(sao Paulo Fashion Week)上备受关注的种族化创作者的新兴品牌。
{"title":"Social justice movements in the expansion of the Afro-Brazilian fashion market","authors":"Ana Rafaella Oliveira de Araújo","doi":"10.1386/infs_00097_1","DOIUrl":"https://doi.org/10.1386/infs_00097_1","url":null,"abstract":"Fashion in the twenty-first century has been heavily impacted by social justice movements. Given this scenario, this article aims to discuss the reflexes that the Black Lives Matter (BLM) movement caused in the global fashion industry from the year 2020, especially in Brazil. From the analysis of the events that motivated this movement, as well as a critical reading of the Brazilian historical-social formation context, I seek to present the emerging brands of racialized creators that are being highlighted at São Paulo Fashion Week, one of the most important fashion events in the country and Latin America.","PeriodicalId":42103,"journal":{"name":"International Journal of Fashion Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136153574","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article investigates the production and consumption of Candomblé clothing in Salvador, Bahia, Brazil, exploring its historical roots and significance within Afro-religious culture. The study analyses the contemporary Candomblé fashion industry, interviewing both older, established seamstresses and younger practitioners. Candomblé attire serves as a marker of identity and hierarchy within a religion that has faced historical racism and persecution. With a growing destigmatization and tourism influence, Candomblé clothing has gained visibility and commercial value. The emergence of a new generation of seamstresses contributes to the revival of traditional techniques and creates a market for Candomblé fashion. Overall, the article provides valuable insights into the evolving role of Candomblé clothing in Brazilian Afro-religious culture.
{"title":"‘Axós no mercado’: The trade of Candomblé fashion in Salvador, Bahia","authors":"Daisy Santos","doi":"10.1386/infs_00098_1","DOIUrl":"https://doi.org/10.1386/infs_00098_1","url":null,"abstract":"This article investigates the production and consumption of Candomblé clothing in Salvador, Bahia, Brazil, exploring its historical roots and significance within Afro-religious culture. The study analyses the contemporary Candomblé fashion industry, interviewing both older, established seamstresses and younger practitioners. Candomblé attire serves as a marker of identity and hierarchy within a religion that has faced historical racism and persecution. With a growing destigmatization and tourism influence, Candomblé clothing has gained visibility and commercial value. The emergence of a new generation of seamstresses contributes to the revival of traditional techniques and creates a market for Candomblé fashion. Overall, the article provides valuable insights into the evolving role of Candomblé clothing in Brazilian Afro-religious culture.","PeriodicalId":42103,"journal":{"name":"International Journal of Fashion Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136153575","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Modemacher*innen, Designer*innen, Influencer*innen, Medien, Subkulturen - noch immer wird die Verantwortung für den modischen Wandel bei zentralen Schlüsselfiguren gesucht. Doch die Gatekeeper*innen der Vergangenheit haben viel von ihrer Definitionsmacht verloren. Was also treibt Moden gegenwärtig voran? Die Initiative scheint auf eine große Zahl Einzelner übergegangen, deren Vielfalt vestimentäre Kulturen hervorbringt, die sich als räumliche Modenetze und zeitliche Modeschwärme beschreiben lassen. Anna Kamneva-Wortmann bietet eine neue Perspektive auf die modische Demokratisierung und behauptet: Kleidermoden entstehen und verschwinden heute »bottom-up«.
{"title":"Modenetze - Modeschwärme","authors":"Anna Kamneva-Wortmann","doi":"10.14361/9783839468005","DOIUrl":"https://doi.org/10.14361/9783839468005","url":null,"abstract":"Modemacher*innen, Designer*innen, Influencer*innen, Medien, Subkulturen - noch immer wird die Verantwortung für den modischen Wandel bei zentralen Schlüsselfiguren gesucht. Doch die Gatekeeper*innen der Vergangenheit haben viel von ihrer Definitionsmacht verloren. Was also treibt Moden gegenwärtig voran? Die Initiative scheint auf eine große Zahl Einzelner übergegangen, deren Vielfalt vestimentäre Kulturen hervorbringt, die sich als räumliche Modenetze und zeitliche Modeschwärme beschreiben lassen. Anna Kamneva-Wortmann bietet eine neue Perspektive auf die modische Demokratisierung und behauptet: Kleidermoden entstehen und verschwinden heute »bottom-up«.","PeriodicalId":42103,"journal":{"name":"International Journal of Fashion Studies","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-07-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89061858","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：