Pub Date : 2021-10-18DOI: 10.1080/1362704X.2021.1982191
Nicola Brajato
Abstract Belgian designer Raf Simons is internationally known for his leadership in avant-garde menswear and his willingness to break with conventional perceptions of masculinity. Nevertheless, his intervention in this field has not been the subject of a thorough academic investigation to date. Focusing specifically on the revisioning of the male body and men’s fashion in Simons’s critical fashion practices, this article aims to offer an original reading of the designer’s work. Drawing on queer theory, I will theorize the image of the interzone, which has been dear to the designer’s modus operandi, as a queer trope that allows Simons to critically engage with masculinity, identity and body politics. By building a theoretical bridge between the fields of fashion studies and queer theory, the article seeks to expand the literature on Belgian fashion and the Antwerp fashion scene, providing a perspective on its relationship with masculinities, the body and queerness.
{"title":"Masculinity, Identity and Body Politics in the Interzone: A Queer Perspective on Raf Simons’s Critical Fashion Practices (1995–2005)","authors":"Nicola Brajato","doi":"10.1080/1362704X.2021.1982191","DOIUrl":"https://doi.org/10.1080/1362704X.2021.1982191","url":null,"abstract":"Abstract Belgian designer Raf Simons is internationally known for his leadership in avant-garde menswear and his willingness to break with conventional perceptions of masculinity. Nevertheless, his intervention in this field has not been the subject of a thorough academic investigation to date. Focusing specifically on the revisioning of the male body and men’s fashion in Simons’s critical fashion practices, this article aims to offer an original reading of the designer’s work. Drawing on queer theory, I will theorize the image of the interzone, which has been dear to the designer’s modus operandi, as a queer trope that allows Simons to critically engage with masculinity, identity and body politics. By building a theoretical bridge between the fields of fashion studies and queer theory, the article seeks to expand the literature on Belgian fashion and the Antwerp fashion scene, providing a perspective on its relationship with masculinities, the body and queerness.","PeriodicalId":51687,"journal":{"name":"Fashion Theory-The Journal of Dress Body & Culture","volume":"27 1","pages":"115 - 147"},"PeriodicalIF":1.0,"publicationDate":"2021-10-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47765751","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-10-11DOI: 10.1080/1362704X.2021.1952919
Chloe Chapin
Abstract In this article, I revisit J.C. Flügel’s conception of the “Great Masculine Renunciation” and its lasting effect on fashion scholarship. Coined in Flügel’s 1930 book The Psychology of Clothes, the term was quickly adopted by early dress historians, though it has often been used in extraction from its original context. Flügel’s framework of psychology both illuminated and limited his analysis of men’s clothing: I compare his early 20th-century psychological analysis to the real historical style changes between the 18th and 19th centuries, and the profound, lasting impact they had not just on men, but on broader understandings of gender, class, and nationality. I challenge Flügel’s definition of the changes in fashions that did occur at the end of the 18th century as essentially about masculinity—by far the more profound impact has been the associated assigning of women’s dress to the character of “fashion,” a role which had previously been held by both genders of the upper class. While it is not invalid to consider this esthetic shift in terms of a loss for men, it also allowed for women’s fashion to be marked as fashion, and for women and nonwhite, non-western, or non-heteronormative men to be marked as “other.”
{"title":"Masculine Renunciation or Rejection of the Feminine?: Revisiting J.C. Flügel’s Psychology of Clothes","authors":"Chloe Chapin","doi":"10.1080/1362704X.2021.1952919","DOIUrl":"https://doi.org/10.1080/1362704X.2021.1952919","url":null,"abstract":"Abstract In this article, I revisit J.C. Flügel’s conception of the “Great Masculine Renunciation” and its lasting effect on fashion scholarship. Coined in Flügel’s 1930 book The Psychology of Clothes, the term was quickly adopted by early dress historians, though it has often been used in extraction from its original context. Flügel’s framework of psychology both illuminated and limited his analysis of men’s clothing: I compare his early 20th-century psychological analysis to the real historical style changes between the 18th and 19th centuries, and the profound, lasting impact they had not just on men, but on broader understandings of gender, class, and nationality. I challenge Flügel’s definition of the changes in fashions that did occur at the end of the 18th century as essentially about masculinity—by far the more profound impact has been the associated assigning of women’s dress to the character of “fashion,” a role which had previously been held by both genders of the upper class. While it is not invalid to consider this esthetic shift in terms of a loss for men, it also allowed for women’s fashion to be marked as fashion, and for women and nonwhite, non-western, or non-heteronormative men to be marked as “other.”","PeriodicalId":51687,"journal":{"name":"Fashion Theory-The Journal of Dress Body & Culture","volume":"26 1","pages":"983 - 1008"},"PeriodicalIF":1.0,"publicationDate":"2021-10-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48462655","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-10-11DOI: 10.1080/1362704X.2021.1985320
R. Cavalieri, Mengzhen Wu
Abstract Over the last three decades, China’s legal framework and political attitude regarding fashion have faced several changes. Initially, the country lagged behind the international standard, but over time China has made a significant effort to improve the legal environment where the fashion industry operates. If China is now a top player in the global fashion market, it is due also to its commitment to building on a solid formal legal framework. While this consolidation is occurring, further transformations that will affect the fashion business are underway in China: in particular, one concerning the advent of digitalization, which is crucial in determining the future development of the industry and increasingly relevant due to the spread of COVID-19, and another concerning the undergoing social, political, and cultural changes being strongly pushed forward by President Xi’s leadership. This paper aims to identify some features of the evolution of legal regulations relating to the fashion industry in China and to analyze its current trends and possible future developments.
{"title":"Developments and Challenges of Fashion Law in China","authors":"R. Cavalieri, Mengzhen Wu","doi":"10.1080/1362704X.2021.1985320","DOIUrl":"https://doi.org/10.1080/1362704X.2021.1985320","url":null,"abstract":"Abstract Over the last three decades, China’s legal framework and political attitude regarding fashion have faced several changes. Initially, the country lagged behind the international standard, but over time China has made a significant effort to improve the legal environment where the fashion industry operates. If China is now a top player in the global fashion market, it is due also to its commitment to building on a solid formal legal framework. While this consolidation is occurring, further transformations that will affect the fashion business are underway in China: in particular, one concerning the advent of digitalization, which is crucial in determining the future development of the industry and increasingly relevant due to the spread of COVID-19, and another concerning the undergoing social, political, and cultural changes being strongly pushed forward by President Xi’s leadership. This paper aims to identify some features of the evolution of legal regulations relating to the fashion industry in China and to analyze its current trends and possible future developments.","PeriodicalId":51687,"journal":{"name":"Fashion Theory-The Journal of Dress Body & Culture","volume":"25 1","pages":"983 - 991"},"PeriodicalIF":1.0,"publicationDate":"2021-10-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43591612","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-10-11DOI: 10.1080/1362704X.2021.1981657
Natalia Särmäkari
Abstract The phenomenon of “digital fashion” has been lately addressed in media as the next significant step in the fashion industry. The increasing use of the 3D-software in fashion design processes is part of a wider “fashion 4.0” digitalization process. This article frames the phenomenon of digital fashion and presents an in-depth case study research on two pioneering companies in this area, Atacac and The Fabricant. How and why are they building their fashion design practice on digital 3D-design? How are these companies redefining the fashion design culture and the fashion designer? Drawing from sociology of professions, this article proposes that digital fashion is an emerging subfield within the field of fashion design, differentiating itself from the professional conventions and building new strategies of jurisdiction and legitimation. Driven by sociotechnical affordances and elevation of professional pride through ethical, conceptual, artistic and skill differentiation, digital fashion designer becomes also a digital artisan. In the increasingly virtual, or “phygital” space and a networked synergetic community of digital fashion, the professional, authorial, bodily and material boundaries of designers become fluid, transforming the traditional figure of fashion designer.
{"title":"Digital 3D Fashion Designers: Cases of Atacac and The Fabricant","authors":"Natalia Särmäkari","doi":"10.1080/1362704X.2021.1981657","DOIUrl":"https://doi.org/10.1080/1362704X.2021.1981657","url":null,"abstract":"Abstract The phenomenon of “digital fashion” has been lately addressed in media as the next significant step in the fashion industry. The increasing use of the 3D-software in fashion design processes is part of a wider “fashion 4.0” digitalization process. This article frames the phenomenon of digital fashion and presents an in-depth case study research on two pioneering companies in this area, Atacac and The Fabricant. How and why are they building their fashion design practice on digital 3D-design? How are these companies redefining the fashion design culture and the fashion designer? Drawing from sociology of professions, this article proposes that digital fashion is an emerging subfield within the field of fashion design, differentiating itself from the professional conventions and building new strategies of jurisdiction and legitimation. Driven by sociotechnical affordances and elevation of professional pride through ethical, conceptual, artistic and skill differentiation, digital fashion designer becomes also a digital artisan. In the increasingly virtual, or “phygital” space and a networked synergetic community of digital fashion, the professional, authorial, bodily and material boundaries of designers become fluid, transforming the traditional figure of fashion designer.","PeriodicalId":51687,"journal":{"name":"Fashion Theory-The Journal of Dress Body & Culture","volume":"27 1","pages":"85 - 114"},"PeriodicalIF":1.0,"publicationDate":"2021-10-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41383063","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-10-11DOI: 10.1080/1362704X.2021.1964269
Kelly L. Reddy-Best, Kyra G. Streck, Isaiah Sents, Destiny Williams
Abstract During the 1970s, people in the United States founded gay and lesbian choruses for political activism, coming out, and celebration. We examined the history of one of these choruses, the Des Moines Gay Men’s Chorus (DMGMC). We asked, how do their bodies in motion and styling-fashioning-dressing produce, distribute, and negotiate queer representations? How do they appear across space and time? How can these style-fashion-dress acts open multiple interpretations and dialectical subtleties? To answer these questions, we analyzed the original DMGMC slogan T-shirt, the digital archive of historical LGBT T-shirts, performance videos and imagery, song lyrics, news articles, and oral histories. The chorus members negotiated queer sensibilities, choral traditions, activism, and community building through their T-shirts and performance costumes in complex ways. They negotiated queer representations by creating temporary queer spaces during the AIDS crisis and highlighting how community and visibility have been significant in gay history. However, the chorus often prioritized an appropriate kind of gay man via dress, which they reinforced through racial-power dynamics, complex-gender associations related to tuxedos, and cabaret performance outfits that included nun’s habits. The chorus’ various collective styles esthetically represent how gay men’s choruses navigate entanglements of tradition, gayness, and music while reclaiming oppressive symbology.
{"title":"Des Moines Gay Men’s Chorus, Queer Spaces, Collectives Styles, and Activist Dress, 1984 to the Present","authors":"Kelly L. Reddy-Best, Kyra G. Streck, Isaiah Sents, Destiny Williams","doi":"10.1080/1362704X.2021.1964269","DOIUrl":"https://doi.org/10.1080/1362704X.2021.1964269","url":null,"abstract":"Abstract During the 1970s, people in the United States founded gay and lesbian choruses for political activism, coming out, and celebration. We examined the history of one of these choruses, the Des Moines Gay Men’s Chorus (DMGMC). We asked, how do their bodies in motion and styling-fashioning-dressing produce, distribute, and negotiate queer representations? How do they appear across space and time? How can these style-fashion-dress acts open multiple interpretations and dialectical subtleties? To answer these questions, we analyzed the original DMGMC slogan T-shirt, the digital archive of historical LGBT T-shirts, performance videos and imagery, song lyrics, news articles, and oral histories. The chorus members negotiated queer sensibilities, choral traditions, activism, and community building through their T-shirts and performance costumes in complex ways. They negotiated queer representations by creating temporary queer spaces during the AIDS crisis and highlighting how community and visibility have been significant in gay history. However, the chorus often prioritized an appropriate kind of gay man via dress, which they reinforced through racial-power dynamics, complex-gender associations related to tuxedos, and cabaret performance outfits that included nun’s habits. The chorus’ various collective styles esthetically represent how gay men’s choruses navigate entanglements of tradition, gayness, and music while reclaiming oppressive symbology.","PeriodicalId":51687,"journal":{"name":"Fashion Theory-The Journal of Dress Body & Culture","volume":"26 1","pages":"1009 - 1033"},"PeriodicalIF":1.0,"publicationDate":"2021-10-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41425528","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-10-11DOI: 10.1080/1362704X.2021.1979789
A. Fung
Abstract This study critically examines, on the one hand, how digital online shopping sites in China, mainly Taobao and Jingdong, have presented UK fashion to the Chinese market. Given the prevailing trend of online shopping for clothing in China, the transnational flow of UK fashion to China is largely monopolized and manipulated by these digital giants. Illustrated in this paper is China’s increasing power to shape and articulate UK/British fashion discourse through various retailers as “cultural translators” in the domestic market, and however, the translation was largely made to sell “counterfeit UK fashion,” resulting in a phenomenon of culture piracy. On the other hand, on the international market, to reflect China’s “going out strategy,” literally these digital online shopping sites also collaborate with UK fashion designers to promote UK fashion in and outside China. The paper discusses the implications for China’s extension of soft power over the fashion industry within and outside China.
{"title":"Transnational Flow of Chinese and UK Fashion Discourse: Analyses of Digital Platforms and Online Shopping in China","authors":"A. Fung","doi":"10.1080/1362704X.2021.1979789","DOIUrl":"https://doi.org/10.1080/1362704X.2021.1979789","url":null,"abstract":"Abstract This study critically examines, on the one hand, how digital online shopping sites in China, mainly Taobao and Jingdong, have presented UK fashion to the Chinese market. Given the prevailing trend of online shopping for clothing in China, the transnational flow of UK fashion to China is largely monopolized and manipulated by these digital giants. Illustrated in this paper is China’s increasing power to shape and articulate UK/British fashion discourse through various retailers as “cultural translators” in the domestic market, and however, the translation was largely made to sell “counterfeit UK fashion,” resulting in a phenomenon of culture piracy. On the other hand, on the international market, to reflect China’s “going out strategy,” literally these digital online shopping sites also collaborate with UK fashion designers to promote UK fashion in and outside China. The paper discusses the implications for China’s extension of soft power over the fashion industry within and outside China.","PeriodicalId":51687,"journal":{"name":"Fashion Theory-The Journal of Dress Body & Culture","volume":"25 1","pages":"917 - 930"},"PeriodicalIF":1.0,"publicationDate":"2021-10-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45429892","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-10-06DOI: 10.1080/1362704X.2021.1979788
Liang Xu
Abstract This article examines the rise of Chinese fashion manufacturing across Africa. By tracing the history of Chinese involvement in Africa's fashion production and reviewing a case study of Chinese garment firms in Newcastle, South Africa, this article attempts to understand the implications of Chinese-funded fashion production in Africa. I argue that the move of fashion production from China to Africa represents a new phase in the migration of global fashion production, and offers an opportunity for examining the gendered dynamics of fashion production in Africa.
{"title":"Chinese Investment and the Rise of “Made in Africa” Fashion Production","authors":"Liang Xu","doi":"10.1080/1362704X.2021.1979788","DOIUrl":"https://doi.org/10.1080/1362704X.2021.1979788","url":null,"abstract":"Abstract This article examines the rise of Chinese fashion manufacturing across Africa. By tracing the history of Chinese involvement in Africa's fashion production and reviewing a case study of Chinese garment firms in Newcastle, South Africa, this article attempts to understand the implications of Chinese-funded fashion production in Africa. I argue that the move of fashion production from China to Africa represents a new phase in the migration of global fashion production, and offers an opportunity for examining the gendered dynamics of fashion production in Africa.","PeriodicalId":51687,"journal":{"name":"Fashion Theory-The Journal of Dress Body & Culture","volume":"25 1","pages":"975 - 982"},"PeriodicalIF":1.0,"publicationDate":"2021-10-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43268906","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-10-05DOI: 10.1080/1362704X.2021.1972631
Donglei Li, Hui’e Liang, A. Zhang
Abstract The Ming Dynasty of China was the ruling dynasty from 1368 to 1644. Wearing hair ornaments as a fashion statement has been an important lasting tradition in Chinese costume history. This article analyzes the political and cultural connotations of women’s headdress throughout the social hierarchy of the Ming Dynasty. During those flourishing cultural and economic times, both the aristocracy and commoners used headdresses to pursue custom trends and to display their ability to consume material wealth. Fashion was a means of distinguishing social classes from one another–the aristocracy could flaunt their prestige by acquiring elaborate and costly hair ornaments, while the commoners intended to break class barriers by emulating the elite styles. The evolution of fashion throughout history reflects the social and esthetic rules of the time. The unique silhouettes, choices of materials, and design features of these headdresses took on different forms as social and cultural norms shifted. Women’s headdress from the Ming Dynasty were metaphors that signified impactful expressions of fashion and consumption throughout social ladders, which is still an influential cultural phenomenon that persists in today’s society.
{"title":"Flaunting and Consumption: Women’s Headdress in the Ming Dynasty of China","authors":"Donglei Li, Hui’e Liang, A. Zhang","doi":"10.1080/1362704X.2021.1972631","DOIUrl":"https://doi.org/10.1080/1362704X.2021.1972631","url":null,"abstract":"Abstract The Ming Dynasty of China was the ruling dynasty from 1368 to 1644. Wearing hair ornaments as a fashion statement has been an important lasting tradition in Chinese costume history. This article analyzes the political and cultural connotations of women’s headdress throughout the social hierarchy of the Ming Dynasty. During those flourishing cultural and economic times, both the aristocracy and commoners used headdresses to pursue custom trends and to display their ability to consume material wealth. Fashion was a means of distinguishing social classes from one another–the aristocracy could flaunt their prestige by acquiring elaborate and costly hair ornaments, while the commoners intended to break class barriers by emulating the elite styles. The evolution of fashion throughout history reflects the social and esthetic rules of the time. The unique silhouettes, choices of materials, and design features of these headdresses took on different forms as social and cultural norms shifted. Women’s headdress from the Ming Dynasty were metaphors that signified impactful expressions of fashion and consumption throughout social ladders, which is still an influential cultural phenomenon that persists in today’s society.","PeriodicalId":51687,"journal":{"name":"Fashion Theory-The Journal of Dress Body & Culture","volume":"26 1","pages":"383 - 398"},"PeriodicalIF":1.0,"publicationDate":"2021-10-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43838163","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-09-27DOI: 10.1080/1362704X.2021.1974710
Domenique Jones, Hee-Jeong Lim
Abstract This research aims to explore transgender men’s embodied experiences of self-construction and discover the role of dress in their journey of outwardly becoming a man. In general, the stigma that sexual and gender minorities experience arises from the perception of appearance that has been institutionalized in a society within the binary gender system. Adopting Deleuzian theory, social comparison theory, and institutional theory as theoretical lenses, we conducted in-depth case studies of four trans males’ influencers’ narratives on YouTube and Instagram. Thematic analysis of the data revealed four themes: (1) Intention for self-documentation and public sharing of the journey of constructing identity, (2) self-consciousness of female body attributes and gender dysphoria as a result of social comparison, (3) reduced gender dysphoria through body modifications, and (4) consuming to conform: Adoption of gendered products for visual conformity and dilemma in fashion choices. Our findings demonstrated the role of dress (i.e. body modification, body supplements) in trans men’s self-construction as they attempt to create congruence between their internal sense of gender and their external presentation. The findings of this study provide theoretical disclosure of how Deleuzian theory and institutional theory are applied to a socially oppressed gender group.
{"title":"Journey to the Self: In-Depth Case Studies of Trans Men’s Self-Construction through Body Work and Clothing","authors":"Domenique Jones, Hee-Jeong Lim","doi":"10.1080/1362704X.2021.1974710","DOIUrl":"https://doi.org/10.1080/1362704X.2021.1974710","url":null,"abstract":"Abstract This research aims to explore transgender men’s embodied experiences of self-construction and discover the role of dress in their journey of outwardly becoming a man. In general, the stigma that sexual and gender minorities experience arises from the perception of appearance that has been institutionalized in a society within the binary gender system. Adopting Deleuzian theory, social comparison theory, and institutional theory as theoretical lenses, we conducted in-depth case studies of four trans males’ influencers’ narratives on YouTube and Instagram. Thematic analysis of the data revealed four themes: (1) Intention for self-documentation and public sharing of the journey of constructing identity, (2) self-consciousness of female body attributes and gender dysphoria as a result of social comparison, (3) reduced gender dysphoria through body modifications, and (4) consuming to conform: Adoption of gendered products for visual conformity and dilemma in fashion choices. Our findings demonstrated the role of dress (i.e. body modification, body supplements) in trans men’s self-construction as they attempt to create congruence between their internal sense of gender and their external presentation. The findings of this study provide theoretical disclosure of how Deleuzian theory and institutional theory are applied to a socially oppressed gender group.","PeriodicalId":51687,"journal":{"name":"Fashion Theory-The Journal of Dress Body & Culture","volume":"26 1","pages":"1035 - 1058"},"PeriodicalIF":1.0,"publicationDate":"2021-09-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44736387","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-09-22DOI: 10.1080/1362704X.2021.1971882
Simona Segre-Reinach
Abstract Each case tells a story in the global production of “national fashions,” a historically Eurocentric field. The first Italian-Chinese collaborations were characterized by joint ventures led by Italians and aimed at the Chinese market. New types of collaboration are vastly more complex. Indeed, they are reshaping Western-Chinese relations in both directions, and present a template for global fashion in the twenty-first century.
{"title":"From Joint Ventures to Collaborative Projects: Toward an Ethnography of Sino-Italian Fashion Relations in the 2020s","authors":"Simona Segre-Reinach","doi":"10.1080/1362704X.2021.1971882","DOIUrl":"https://doi.org/10.1080/1362704X.2021.1971882","url":null,"abstract":"Abstract Each case tells a story in the global production of “national fashions,” a historically Eurocentric field. The first Italian-Chinese collaborations were characterized by joint ventures led by Italians and aimed at the Chinese market. New types of collaboration are vastly more complex. Indeed, they are reshaping Western-Chinese relations in both directions, and present a template for global fashion in the twenty-first century.","PeriodicalId":51687,"journal":{"name":"Fashion Theory-The Journal of Dress Body & Culture","volume":"25 1","pages":"931 - 944"},"PeriodicalIF":1.0,"publicationDate":"2021-09-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42765498","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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