This article builds on existing theories of self-presentation and self-identity through a study into the behaviour of fashion influencers who position themselves as Scottish on Instagram. Fourteen interviews were carried out with Scottish fashion influencers who were asked to reflect on their online identity. The interaction between the offline and online self is explored, where national identity and a sense of place are recognized as important attributes of self-identity in an offline setting and participants were sampled on the basis that they were projecting this as a key component of their online self. All were found to be seeking to convey an ideal identity on Instagram; this involved curating particular aspects of their offline style and showcasing these online. The issue of authenticity was complex, and a spectrum of identity evolution on Instagram is observed and reflected on. The most career-minded participants tended to portray themselves in a more one-sided manner and were most strongly influenced by a sense of their audience. In contrast, the participants who were less career-minded tended to explore more freely with their online self and were influenced most strongly by internal factors.
{"title":"Scottish fashion influencers: Constructing a style identity on Instagram","authors":"Madeleine Marcella-Hood","doi":"10.1386/INFS_00017_1","DOIUrl":"https://doi.org/10.1386/INFS_00017_1","url":null,"abstract":"This article builds on existing theories of self-presentation and self-identity through a study into the behaviour of fashion influencers who position themselves as Scottish on Instagram. Fourteen interviews were carried out with Scottish fashion influencers who were asked to reflect\u0000 on their online identity. The interaction between the offline and online self is explored, where national identity and a sense of place are recognized as important attributes of self-identity in an offline setting and participants were sampled on the basis that they were projecting this as\u0000 a key component of their online self. All were found to be seeking to convey an ideal identity on Instagram; this involved curating particular aspects of their offline style and showcasing these online. The issue of authenticity was complex, and a spectrum of identity evolution on Instagram\u0000 is observed and reflected on. The most career-minded participants tended to portray themselves in a more one-sided manner and were most strongly influenced by a sense of their audience. In contrast, the participants who were less career-minded tended to explore more freely with their online\u0000 self and were influenced most strongly by internal factors.","PeriodicalId":42103,"journal":{"name":"International Journal of Fashion Studies","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2020-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48663238","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 how and why, in the 1970s, Israeli Mizrahi men – Jews from Arab countries – used fashion (among other tools) to both rebel against Ashkenazim hegemony and reconnect with their own roots. This article first shows how, during Israel’s pre-state era, many Jewish Ashkenazim pioneers wore a very simple outfit that was associated with socialist political ideology and became the male Israeli national dress code before and after Israel’s establishment in 1948. Not all Israelis identified with it, though: in the 1970s, second-generation male Mizrahim rebelled against the ethnic and racial discrimination they suffered from Ashkenazim, and used fashion alongside other means to express their opposition. By doing so, Mizrahim paved the way for contemporary male Israeli fashion. This article clarifies how this fashion change occurred, and how it converged with political upheaval. It also discloses the links with Mizrahim Arabic heritage concerning body care.
{"title":"Mizrahim masculine fashion as the expression of political confrontation in Israel in the 1970s","authors":"Shoshana-Rose Marzel, Henriette Dahan-Kalev","doi":"10.1386/infs_00008_1","DOIUrl":"https://doi.org/10.1386/infs_00008_1","url":null,"abstract":"This article explores how and why, in the 1970s, Israeli Mizrahi men – Jews from Arab countries – used fashion (among other tools) to both rebel against Ashkenazim hegemony and reconnect with their own roots. This article first shows how, during Israel’s pre-state\u0000 era, many Jewish Ashkenazim pioneers wore a very simple outfit that was associated with socialist political ideology and became the male Israeli national dress code before and after Israel’s establishment in 1948. Not all Israelis identified with it, though: in the 1970s, second-generation\u0000 male Mizrahim rebelled against the ethnic and racial discrimination they suffered from Ashkenazim, and used fashion alongside other means to express their opposition. By doing so, Mizrahim paved the way for contemporary male Israeli fashion. This article clarifies how this fashion change occurred,\u0000 and how it converged with political upheaval. It also discloses the links with Mizrahim Arabic heritage concerning body care.","PeriodicalId":42103,"journal":{"name":"International Journal of Fashion Studies","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47947666","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 early twentieth century was a time of great influx in America. Shifting demographics in the 1910s and 1920s, most notably the migration of thousands of African Americans from the rural South to the urban centres of the North, opened economic and leisure possibilities that provided new spaces to define black modernity and its role in shaping American identity. Debates over black women’s bodies, clothing, hair, and general appearance stood at the centre of public attention and political discourse over gender and race equality, forming a realm where African Americans could challenge white racist stereotypes regarding black femininity and beauty, as well as a means through which they could claim new freedoms and achieve economic mobility. Middle-class reformers, young black migrants, as well as new role models such as female performers and blues singers, all used dress and appearance to redefine notions of beauty, respectability and freedom on their own terms. For these women, fashions became intertwined with questions of racial progress and inclusion in American society, offering a way to lay claims for equal citizenship that moved beyond individual expressions and preferences. This article highlights the place of fashion as a critical political realm for African Americans, who were often barred from access to formal routes of power in the era of Jim Crow. Shifting the perspective beyond official forms of civil rights activism, it argues that fashion enabled black women to carve new positions of power from which they could actively participate in gender and racial politics, demanding their equal place in American society.
{"title":"Fabricating black modernity: Fashion and African American womanhood during the first great migration","authors":"Einav Rabinovitch-Fox","doi":"10.1386/infs_00007_1","DOIUrl":"https://doi.org/10.1386/infs_00007_1","url":null,"abstract":"The early twentieth century was a time of great influx in America. Shifting demographics in the 1910s and 1920s, most notably the migration of thousands of African Americans from the rural South to the urban centres of the North, opened economic and leisure possibilities that provided\u0000 new spaces to define black modernity and its role in shaping American identity. Debates over black women’s bodies, clothing, hair, and general appearance stood at the centre of public attention and political discourse over gender and race equality, forming a realm where African Americans\u0000 could challenge white racist stereotypes regarding black femininity and beauty, as well as a means through which they could claim new freedoms and achieve economic mobility. Middle-class reformers, young black migrants, as well as new role models such as female performers and blues singers,\u0000 all used dress and appearance to redefine notions of beauty, respectability and freedom on their own terms. For these women, fashions became intertwined with questions of racial progress and inclusion in American society, offering a way to lay claims for equal citizenship that moved beyond\u0000 individual expressions and preferences. This article highlights the place of fashion as a critical political realm for African Americans, who were often barred from access to formal routes of power in the era of Jim Crow. Shifting the perspective beyond official forms of civil rights activism,\u0000 it argues that fashion enabled black women to carve new positions of power from which they could actively participate in gender and racial politics, demanding their equal place in American society.","PeriodicalId":42103,"journal":{"name":"International Journal of Fashion Studies","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47732554","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}
Since the late nineteenth century, yōfuku (a vague Japanese concept referring to all clothing originating from western countries) has spread predominantly from the upper to the lower class and from urban to rural space in Japan. In this process, the symbolic meaning attached to it has been transformed. Once a symbol of male elites, yōfuku has become ‘Japanese fashion’ and is now an expression of current Japanese (pop) culture. This article investigates the adoption process of yōfuku – especially the school uniform, which has reflected the contrasts between elite and non-elite, modernity and tradition, masculinity and femininity, and public duty and private life. Drawing on the case study of Japan, this article also sheds light on the complexity and variety that exist in modernization processes.
{"title":"From state uniform to fashion: Japanese adoption of western clothing since the late nineteenth century","authors":"A. Kobayashi","doi":"10.1386/infs_00005_1","DOIUrl":"https://doi.org/10.1386/infs_00005_1","url":null,"abstract":"Since the late nineteenth century, yōfuku (a vague Japanese concept referring to all clothing originating from western countries) has spread predominantly from the upper to the lower class and from urban to rural space in Japan. In this process, the symbolic meaning attached to\u0000 it has been transformed. Once a symbol of male elites, yōfuku has become ‘Japanese fashion’ and is now an expression of current Japanese (pop) culture. This article investigates the adoption process of yōfuku – especially the school uniform, which has reflected\u0000 the contrasts between elite and non-elite, modernity and tradition, masculinity and femininity, and public duty and private life. Drawing on the case study of Japan, this article also sheds light on the complexity and variety that exist in modernization processes.","PeriodicalId":42103,"journal":{"name":"International Journal of Fashion Studies","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44286911","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 presents the performativity of costume as generated through materially discursive iterative processes that embed meaning in the production itself through the analysis of the chorus costumes for the 2018 Opéra du Rhin production of Eugene Onegin. It argues that a new materialist approach can reveal the ethical concerns, around gender, toxic masculinity and compliance to reactionary social conventions, that lie at the core of this costuming of an opera chorus, particularly when perceived through the multiple forms that shape its distinct materializations over three successive acts. In addition, a focus on the agential actions of materials will draw attention to the work of the costume department, which to date has remained largely unaddressed by analytical approaches that are solely based on spectatorship, semiotics or phenomenological perspectives. Identifying the agential actions that materials perform enables the articulation of the costume specialist’s response to the performativity of materials. Adopting a new materialist approach, ‘costuming’ is found to be an evolving and relational form that emerges from a complex process of meaning-making that addresses, through a distribution of agency, how materials connect to wider concerns.
{"title":"The scenographic, costumed chorus, agency and the performance of matter: A new materialist approach to costume","authors":"Donatella Barbieri, Greer Crawley","doi":"10.1386/infs_00001_1","DOIUrl":"https://doi.org/10.1386/infs_00001_1","url":null,"abstract":"This article presents the performativity of costume as generated through materially discursive iterative processes that embed meaning in the production itself through the analysis of the chorus costumes for the 2018 Opéra du Rhin production of Eugene Onegin. It argues that a\u0000 new materialist approach can reveal the ethical concerns, around gender, toxic masculinity and compliance to reactionary social conventions, that lie at the core of this costuming of an opera chorus, particularly when perceived through the multiple forms that shape its distinct materializations\u0000 over three successive acts. In addition, a focus on the agential actions of materials will draw attention to the work of the costume department, which to date has remained largely unaddressed by analytical approaches that are solely based on spectatorship, semiotics or phenomenological perspectives.\u0000 Identifying the agential actions that materials perform enables the articulation of the costume specialist’s response to the performativity of materials. Adopting a new materialist approach, ‘costuming’ is found to be an evolving and relational form that emerges from a complex\u0000 process of meaning-making that addresses, through a distribution of agency, how materials connect to wider concerns.","PeriodicalId":42103,"journal":{"name":"International Journal of Fashion Studies","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45485140","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":"Germany’s next Topmodel: On the historical contexts of a talent show","authors":"L. Seegers","doi":"10.1386/infs_00010_7","DOIUrl":"https://doi.org/10.1386/infs_00010_7","url":null,"abstract":"","PeriodicalId":42103,"journal":{"name":"International Journal of Fashion Studies","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41630933","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}
Modern Fashion Traditions: Negotiating Tradition and Modernity through Fashion, M. Angela Jansen and Jennifer Craik (eds) (2016) 1st ed., London and New York: Bloomsbury, 256 pp., 23 b/w illustrations ISBN 978 1 47422 949 4, Hardback, UK £90.00; Paperback, UK £28.99; eBook, UK £31.30
{"title":"Book Review","authors":"Nazlı Alimen","doi":"10.1386/infs_00013_5","DOIUrl":"https://doi.org/10.1386/infs_00013_5","url":null,"abstract":"Modern Fashion Traditions: Negotiating Tradition and Modernity through Fashion, M. Angela Jansen and Jennifer Craik (eds) (2016) 1st ed., London and New York: Bloomsbury, 256 pp., 23 b/w illustrations ISBN 978 1 47422 949 4, Hardback, UK £90.00; Paperback, UK £28.99; eBook,\u0000 UK £31.30","PeriodicalId":42103,"journal":{"name":"International Journal of Fashion Studies","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46500867","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":"Fashion and history: There is no doubt that clothes matter","authors":"Sven Bethke, Nathalie Keigel","doi":"10.1386/infs_00003_2","DOIUrl":"https://doi.org/10.1386/infs_00003_2","url":null,"abstract":"","PeriodicalId":42103,"journal":{"name":"International Journal of Fashion Studies","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1386/infs_00003_2","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44763922","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":"Hunting the absent historical male body","authors":"S. Goldsmith","doi":"10.1386/infs_00009_7","DOIUrl":"https://doi.org/10.1386/infs_00009_7","url":null,"abstract":"","PeriodicalId":42103,"journal":{"name":"International Journal of Fashion Studies","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42706677","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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