{"title":"Review: Alexander McQueen: Art Meets Fashion","authors":"","doi":"10.38055/fs040203","DOIUrl":"https://doi.org/10.38055/fs040203","url":null,"abstract":"","PeriodicalId":42103,"journal":{"name":"International Journal of Fashion Studies","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72433255","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}
{"title":"State of the Field: Letter from the Editors","authors":"","doi":"10.38055/sof010111","DOIUrl":"https://doi.org/10.38055/sof010111","url":null,"abstract":"","PeriodicalId":42103,"journal":{"name":"International Journal of Fashion Studies","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89007714","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}
Decolonizing debates have the potential to revitalize fashion studies by placing greater emphasis on the way we practise, and the conditions under which we see, hear and speak about fashion imagery. Decolonializing projects and anti-racist activism suggest new methodologies and transformational insights, which are riddled with contradictions and personal vulnerabilities. This article reflects on museums and fashion photography as spaces of decolonial reckoning and paradox. Understanding and coming to terms with positionality, a crucial factor in decolonial praxis, emerges as a continually unfolding process of action and compromise in which the researcher may ultimately ground herself.
{"title":"Pausing for thought: Lost and found","authors":"Sarah Cheang","doi":"10.1386/infs_00081_7","DOIUrl":"https://doi.org/10.1386/infs_00081_7","url":null,"abstract":"Decolonizing debates have the potential to revitalize fashion studies by placing greater emphasis on the way we practise, and the conditions under which we see, hear and speak about fashion imagery. Decolonializing projects and anti-racist activism suggest new methodologies and transformational insights, which are riddled with contradictions and personal vulnerabilities. This article reflects on museums and fashion photography as spaces of decolonial reckoning and paradox. Understanding and coming to terms with positionality, a crucial factor in decolonial praxis, emerges as a continually unfolding process of action and compromise in which the researcher may ultimately ground herself.","PeriodicalId":42103,"journal":{"name":"International Journal of Fashion Studies","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48540109","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 has been seen as either a rejection or an embracing of history and the past. In reality, fashion is constantly changing – is fragmentary, transitory and borderless. Because fashion has no borders, it can be brave, bold and often contradictory, just as the women who design and wear it can themselves present unique ambiguities worth exploring. Grounded in field and curatorial research with three generations of Senegalese fashion designers, this article explores the ways in which women in Dakar and Saint-Louis reinscribe problematic histories in sartorial expressions and shift the narrative away from a ‘colonial’ past and into a potential and ideological future imaginary. Each designer envisions and amplifies women’s voices, concerns and constructions of histories, despite discrepancies. And yet, in these very discrepancies lie the defiance of a colonial articulation of the past. As this article argues, decolonial creativity lies in the fault lines of history and can be selectively mined. This interpellation of the traditional/historical highlights an association of tradition with fixity and a distancing of fashion from the past that does not recognize the reality of African experiences. Instead, as a constant renegotiation of the past in the present, it blurs these boundaries and is constantly in flux.
{"title":"Divas and dynamos: Decolonizing Senegalese histories through fashion","authors":"Amanda M. Maples","doi":"10.1386/infs_00074_1","DOIUrl":"https://doi.org/10.1386/infs_00074_1","url":null,"abstract":"Fashion has been seen as either a rejection or an embracing of history and the past. In reality, fashion is constantly changing – is fragmentary, transitory and borderless. Because fashion has no borders, it can be brave, bold and often contradictory, just as the women who design and wear it can themselves present unique ambiguities worth exploring. Grounded in field and curatorial research with three generations of Senegalese fashion designers, this article explores the ways in which women in Dakar and Saint-Louis reinscribe problematic histories in sartorial expressions and shift the narrative away from a ‘colonial’ past and into a potential and ideological future imaginary. Each designer envisions and amplifies women’s voices, concerns and constructions of histories, despite discrepancies. And yet, in these very discrepancies lie the defiance of a colonial articulation of the past. As this article argues, decolonial creativity lies in the fault lines of history and can be selectively mined. This interpellation of the traditional/historical highlights an association of tradition with fixity and a distancing of fashion from the past that does not recognize the reality of African experiences. Instead, as a constant renegotiation of the past in the present, it blurs these boundaries and is constantly in flux.","PeriodicalId":42103,"journal":{"name":"International Journal of Fashion Studies","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46141579","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}
In 2019, I started an interdisciplinary, multi-media fashion project entitled If Slavery Were a Crown… It aimed to show people, through the lens of my Nigerian Yorùbá culture, what it would look like if the Black body was perceived as royalty. If Slavery Were a Crown… was part of my graduate project and it served as a response to my final year undergraduate dissertation. I was shocked when, during a tutorial session on the development of this project, a reviewer told me, ‘throw on a pair of jeans on’ (sic) my designs because ‘we need something more up-to-date and not archaic’. Sadly, throughout the development of my project I felt the colonial permanence in the fashion education system and this constant struggle between ‘the ideal’ and ‘the other’, as I often had to decentralize the Western-centric ideas that I came across in my design research. Decolonization begins to occur as we consciously work progressively outside these barriers in spaces we create ourselves and that are not bound to coloniality. In Yorùbá, we say jade kuro (‘exit’), which literally translates to ‘leave (jade) and take away (kuro)’ – we need to come out of this world where the West is dominant and move away from that position. Jade kuro is emphatic language that calls us to do so. In this article, I will explore the role jade kuro plays in decolonizing fashion through Yorùbá storytelling in relation to my graduate project If Slavery Were a Crown…, which depicts Black bodies as royal despite the experience of an oppressive past and complex present.
{"title":"Jade kuro: Ditching ‘the ideal’ narrative","authors":"Oluwasola Kehinde Olowo-Ake","doi":"10.1386/infs_00076_7","DOIUrl":"https://doi.org/10.1386/infs_00076_7","url":null,"abstract":"In 2019, I started an interdisciplinary, multi-media fashion project entitled If Slavery Were a Crown… It aimed to show people, through the lens of my Nigerian Yorùbá culture, what it would look like if the Black body was perceived as royalty. If Slavery Were a Crown… was part of my graduate project and it served as a response to my final year undergraduate dissertation. I was shocked when, during a tutorial session on the development of this project, a reviewer told me, ‘throw on a pair of jeans on’ (sic) my designs because ‘we need something more up-to-date and not archaic’. Sadly, throughout the development of my project I felt the colonial permanence in the fashion education system and this constant struggle between ‘the ideal’ and ‘the other’, as I often had to decentralize the Western-centric ideas that I came across in my design research. Decolonization begins to occur as we consciously work progressively outside these barriers in spaces we create ourselves and that are not bound to coloniality. In Yorùbá, we say jade kuro (‘exit’), which literally translates to ‘leave (jade) and take away (kuro)’ – we need to come out of this world where the West is dominant and move away from that position. Jade kuro is emphatic language that calls us to do so. In this article, I will explore the role jade kuro plays in decolonizing fashion through Yorùbá storytelling in relation to my graduate project If Slavery Were a Crown…, which depicts Black bodies as royal despite the experience of an oppressive past and complex present.","PeriodicalId":42103,"journal":{"name":"International Journal of Fashion Studies","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41313771","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}
India’s fashion industry experienced spectacular growth in the decades after economic liberalization. The positive outlook brought about by liberalization led to the development of a culture of design built on the backs of textile crafts centred around material excess informed by re-orientalist viewpoints as well as selective references to India’s freedom movement. Most recently, however, a newer generation of designers shunned the visual exuberance that had become the hallmark of Indian couture. Yet even as they refrain from the visual stereotypes made popular by the preceding design fraternity, they continue to foreground Gandhian principles and the sartorial politics of Indian nationalism in their design statements and approach to craftivism. The difference, however, is in the way these are reframed to substantiate the cultural relevance, authenticity and purity of a more minimalist design product. This article closely examines the emergence of such minimalist fashion and highlights the paradoxes that emerge through anti-colonial, pre-colonial and postcolonial references that are evidence of the incomplete nature of the process of decolonization. This article will argue that such ambiguity is a natural outcome of neo-liberal market forces and the realities of creating exclusive luxury fashion while working with crafts in a philanthrocapitalist framework.
{"title":"Less is more: The paradox of minimalism in contemporary Indian fashion","authors":"Arti Sandhu","doi":"10.1386/infs_00075_1","DOIUrl":"https://doi.org/10.1386/infs_00075_1","url":null,"abstract":"India’s fashion industry experienced spectacular growth in the decades after economic liberalization. The positive outlook brought about by liberalization led to the development of a culture of design built on the backs of textile crafts centred around material excess informed by re-orientalist viewpoints as well as selective references to India’s freedom movement. Most recently, however, a newer generation of designers shunned the visual exuberance that had become the hallmark of Indian couture. Yet even as they refrain from the visual stereotypes made popular by the preceding design fraternity, they continue to foreground Gandhian principles and the sartorial politics of Indian nationalism in their design statements and approach to craftivism. The difference, however, is in the way these are reframed to substantiate the cultural relevance, authenticity and purity of a more minimalist design product. This article closely examines the emergence of such minimalist fashion and highlights the paradoxes that emerge through anti-colonial, pre-colonial and postcolonial references that are evidence of the incomplete nature of the process of decolonization. This article will argue that such ambiguity is a natural outcome of neo-liberal market forces and the realities of creating exclusive luxury fashion while working with crafts in a philanthrocapitalist framework.","PeriodicalId":42103,"journal":{"name":"International Journal of Fashion Studies","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44477621","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}
Throughout the fashion year in Lagos, events take place across the city. The pre-eminent event is Lagos Fashion Week (LFW). A key event in the fashion calendar on the African continent, this is where designers are consecrated in the fashion field, and where social and economic capital is delineated. This article describes the strategies employed by the designers and attendees to realize and self-represent their creations. To some degree, LFW is more accessible than the dominant western fashion weeks (New York, etc.) and offers the potential for actors to destabilize that system and its inherited colonial ideologies. LFW provides a platform for self-representation and for legitimizing alternative identities, some of which challenge an embedded patriarchy. A vibrant competitive display of street fashion, covered by international journalists and photographers, offers further possibilities for the articulation of contemporary identities, which challenge the legacies of stereotypical colonial representations of African dress. At the same time, certain western conventions are reproduced, such as the celebration and legitimization of individual designers over the hidden labour of artisans. The article suggests that LFW might serve to facilitate decolonial processes once designers employ equitable fashion practices and represent the voices of the artisans.
{"title":"Performing postcolonial identity: The spectacle of Lagos Fashion Week","authors":"Harriett Hughes","doi":"10.1386/infs_00072_1","DOIUrl":"https://doi.org/10.1386/infs_00072_1","url":null,"abstract":"Throughout the fashion year in Lagos, events take place across the city. The pre-eminent event is Lagos Fashion Week (LFW). A key event in the fashion calendar on the African continent, this is where designers are consecrated in the fashion field, and where social and economic capital is delineated. This article describes the strategies employed by the designers and attendees to realize and self-represent their creations. To some degree, LFW is more accessible than the dominant western fashion weeks (New York, etc.) and offers the potential for actors to destabilize that system and its inherited colonial ideologies. LFW provides a platform for self-representation and for legitimizing alternative identities, some of which challenge an embedded patriarchy. A vibrant competitive display of street fashion, covered by international journalists and photographers, offers further possibilities for the articulation of contemporary identities, which challenge the legacies of stereotypical colonial representations of African dress. At the same time, certain western conventions are reproduced, such as the celebration and legitimization of individual designers over the hidden labour of artisans. The article suggests that LFW might serve to facilitate decolonial processes once designers employ equitable fashion practices and represent the voices of the artisans.","PeriodicalId":42103,"journal":{"name":"International Journal of Fashion Studies","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42328580","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}
A young bride and groom, Zeynab Dieng (25) and Abdoulaye Ly (28), asked me to photograph their Muslim/Peulh wedding festivities in Dakar, Senegal. Dakarois wedding celebrations centre around the bride, who demonstrates her dignity and savoir faire as a new matron by appearing in a succession of fashionable outfits. Within the Senegalese fashion system, these outfits fall into the style categories labelled ‘ethnic’, ‘pan-African’ and ‘European’. Among the many Senegalese weddings that I have attended and photographed, the wedding of Abdoulaye and Zeynab was startlingly original in its fashions and its rituals. Abdoulaye, Zeynab and their siblings performed a ceremony of freedom on their own terms. My study addresses interwoven processes of colonization/decolonization. The first concerns my own far-from-complete process of attempting to decolonize my mind and practice. The second process concerns the refusing-to-die colonial dichotomy of ‘tradition’ and ‘modernity’ with respect to fashion and weddings. Instead of applying colonial labels to the fashions and the wedding, I try to see these through the lens of the Dakarois youth imaginary. How do Zeynab, Abdoulaye and their contemporaries interpret the decolonizing/neo-colonizing forces they navigate in creating fashions and in shaping their own lives?
{"title":"A fashionable wedding in Dakar, Senegal","authors":"Leslie W. Rabine","doi":"10.1386/infs_00080_7","DOIUrl":"https://doi.org/10.1386/infs_00080_7","url":null,"abstract":"A young bride and groom, Zeynab Dieng (25) and Abdoulaye Ly (28), asked me to photograph their Muslim/Peulh wedding festivities in Dakar, Senegal. Dakarois wedding celebrations centre around the bride, who demonstrates her dignity and savoir faire as a new matron by appearing\u0000 in a succession of fashionable outfits. Within the Senegalese fashion system, these outfits fall into the style categories labelled ‘ethnic’, ‘pan-African’ and ‘European’. Among the many Senegalese weddings that I have attended and photographed, the wedding\u0000 of Abdoulaye and Zeynab was startlingly original in its fashions and its rituals. Abdoulaye, Zeynab and their siblings performed a ceremony of freedom on their own terms. My study addresses interwoven processes of colonization/decolonization. The first concerns my own far-from-complete process\u0000 of attempting to decolonize my mind and practice. The second process concerns the refusing-to-die colonial dichotomy of ‘tradition’ and ‘modernity’ with respect to fashion and weddings. Instead of applying colonial labels to the fashions and the wedding, I try to see\u0000 these through the lens of the Dakarois youth imaginary. How do Zeynab, Abdoulaye and their contemporaries interpret the decolonizing/neo-colonizing forces they navigate in creating fashions and in shaping their own lives?","PeriodicalId":42103,"journal":{"name":"International Journal of Fashion Studies","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47186811","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}
In the last quarter of the nineteenth century, the Indian ‘princely state’ of Hyderabad became strongly associated with a particular form of male dress based around the long sherwani coat and fez or rumi topi. Although often dismissed as a mere Indian frock coat by colonial commentators and historians, by 1890 the sherwani was widely recognized within India as a distinctively Hyderabadi garment, symbolizing the state’s continued autonomy and claims to civilized, modernizing legitimacy. Yet the sherwani encompassed many influences, from colonial European to Ottoman Turkish and regional Deccani, and was a product not of deliberate design, but gradual and often haphazard evolution within the specific social context of 1860–90s Hyderabad. Popular resentment of the soberly clad colonial and western-educated North Indian outsiders who predominantly staffed the newly reformed state administration, for example, drove a return to bright patterning, greater length and use of local fabrics like himroo. Using archives of photography, memoir and costume to trace the sherwani’s development, this article shows this era as one defined by a creative multiplicity of visions for identity and self-fashioning, engaging not only hegemonic-colonial constructs of civilized masculinity but also emergent North Indian reform movements and localized changes of sociopolitical structure, urban space and consumer opportunity.
{"title":"Anti-imperialism, ambiguity and the emergence of the sherwani-topi style in Hyderabad state, 1860–1900","authors":"William Bamber","doi":"10.1386/infs_00071_1","DOIUrl":"https://doi.org/10.1386/infs_00071_1","url":null,"abstract":"In the last quarter of the nineteenth century, the Indian ‘princely state’ of Hyderabad became strongly associated with a particular form of male dress based around the long sherwani coat and fez or rumi topi. Although often dismissed as a mere Indian frock coat by colonial commentators and historians, by 1890 the sherwani was widely recognized within India as a distinctively Hyderabadi garment, symbolizing the state’s continued autonomy and claims to civilized, modernizing legitimacy. Yet the sherwani encompassed many influences, from colonial European to Ottoman Turkish and regional Deccani, and was a product not of deliberate design, but gradual and often haphazard evolution within the specific social context of 1860–90s Hyderabad. Popular resentment of the soberly clad colonial and western-educated North Indian outsiders who predominantly staffed the newly reformed state administration, for example, drove a return to bright patterning, greater length and use of local fabrics like himroo. Using archives of photography, memoir and costume to trace the sherwani’s development, this article shows this era as one defined by a creative multiplicity of visions for identity and self-fashioning, engaging not only hegemonic-colonial constructs of civilized masculinity but also emergent North Indian reform movements and localized changes of sociopolitical structure, urban space and consumer opportunity.","PeriodicalId":42103,"journal":{"name":"International Journal of Fashion Studies","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46295049","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}
Discourses on traditional textile and craft practices, focusing on participatory and emancipatory approaches, disregard epistemologies and ontologies other than that of the researcher and invest in reformation, through new technology and modernization, of traditional practices. While these mainstream narratives have ignored the presence of non-western realities, this article takes the example of Somaiya Kala Vidya, a design institute based in Kutch, India, that provides traditional textile artisans with design education for capability-building, enabling sustenance in the current fashion paradigm: a product of systematic erasure of local systems by the West. Artisans exposed to design education display unique creative identities alongside their collective cultural identities. They challenge fashion hegemonies by navigating the tensions between ‘perceived’ local and global, modernity and tradition. The study brings forth the complexity of modernization processes; a by-product of design education, resulting in the deconstruction and reconstruction of traditional knowledge in the community. This examination of creative identities, aspirations and traditional knowledge of artisans demonstrates the need of decolonizing the fashion industry’s approach to the craft ecosystem, contributing to an essential discussion of pluralistic realities.
关于传统纺织和工艺实践的讨论，侧重于参与和解放的方法，无视研究人员以外的认识论和本体论，并通过新技术和现代化对传统实践进行改革。虽然这些主流叙事忽视了非西方现实的存在，但本文以印度库奇的设计学院Somayya Kala Vidya为例，该学院为传统纺织工匠提供能力建设的设计教育，使其能够维持当前的时尚范式：这是西方系统性地抹去当地制度的产物。接受设计教育的艺术家在集体文化身份的同时，也表现出独特的创作身份。他们通过驾驭“感知”的本地与全球、现代与传统之间的紧张关系，挑战时尚霸权。该研究揭示了现代化进程的复杂性；设计教育的副产品，导致社区对传统知识的解构和重构。对工匠的创造性身份、愿望和传统知识的研究表明，有必要将时尚行业对工艺生态系统的方法非殖民化，从而有助于对多元现实进行必要的讨论。
{"title":"Navigating ‘modernization’ in craft: Artisan-designers in Gujarat, India","authors":"Megha Chauhan","doi":"10.1386/infs_00073_1","DOIUrl":"https://doi.org/10.1386/infs_00073_1","url":null,"abstract":"Discourses on traditional textile and craft practices, focusing on participatory and emancipatory approaches, disregard epistemologies and ontologies other than that of the researcher and invest in reformation, through new technology and modernization, of traditional practices. While\u0000 these mainstream narratives have ignored the presence of non-western realities, this article takes the example of Somaiya Kala Vidya, a design institute based in Kutch, India, that provides traditional textile artisans with design education for capability-building, enabling sustenance in the\u0000 current fashion paradigm: a product of systematic erasure of local systems by the West. Artisans exposed to design education display unique creative identities alongside their collective cultural identities. They challenge fashion hegemonies by navigating the tensions between ‘perceived’\u0000 local and global, modernity and tradition. The study brings forth the complexity of modernization processes; a by-product of design education, resulting in the deconstruction and reconstruction of traditional knowledge in the community. This examination of creative identities, aspirations\u0000 and traditional knowledge of artisans demonstrates the need of decolonizing the fashion industry’s approach to the craft ecosystem, contributing to an essential discussion of pluralistic realities.","PeriodicalId":42103,"journal":{"name":"International Journal of Fashion Studies","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49527526","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}
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