Pub Date : 2022-05-27DOI: 10.1080/1362704X.2022.2070987
M. K. Hughes
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Pub Date : 2022-05-18DOI: 10.1080/1362704X.2022.2074133
Sally Gray
{"title":"Queer: Stories from the NGV Collection","authors":"Sally Gray","doi":"10.1080/1362704X.2022.2074133","DOIUrl":"https://doi.org/10.1080/1362704X.2022.2074133","url":null,"abstract":"","PeriodicalId":51687,"journal":{"name":"Fashion Theory-The Journal of Dress Body & Culture","volume":"26 1","pages":"701 - 708"},"PeriodicalIF":1.0,"publicationDate":"2022-05-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45774816","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 : 2022-05-03DOI: 10.1080/1362704X.2022.2073977
Michael Vanicek
In America: A Lexicon of Fashion, the first of a two-part exhibition at the Metropolitan Museum of Art’s Costume Institute, attempts to develop a vocabulary to address the evocative qualities of American fashion since the 1940s. The exhibition comprises approximately 100 ensembles classified and subdivided amongst twelve emotional themes (Nostalgia, Belonging, Delight, Assurance, Desire, Strength, Comfort, Confidence, Affinity, Wonder, Joy and Consciousness) in order to consider how is fashion ‘spoken’ in America. A Lexicon is inspired by and conceptually modelled upon the quilt, a staple of American folk tradition and a metaphor of diversity, with the exhibits arranged by likeness in shadow boxes. The quantity is impressive, the relations thoughtful and the definitions nuanced, but the succession of identically presented exhibits can be overwhelming, if not monotonous. At the same time, the exhibition feels somewhat abridged, with the promise of a more spectacular Part Two weighing on the galleries. Nevertheless, In America: A Lexicon of Fashion succeeds in providing a vocabulary that one naturally falls into when considering the American fashion on display and in asking the most time-tested, à propos question that has shaped the nation since even before its founding: Who gets to be American?
《在美国：时尚词典》（In America:A Lexicon of Fashion）是大都会艺术博物馆服装学院（Metropolitan Museum of Art’s Costume Institute。展览包括大约100个合奏，分为12个情感主题（怀旧、归属、快乐、保证、欲望、力量、舒适、自信、亲和力、奇迹、欢乐和意识），以思考时尚在美国是如何“说话”的。Lexicon的灵感来源于被子，并在概念上以被子为原型，被子是美国民间传统的主要内容，也是多样性的象征，展品按肖像排列在阴影框中。数量令人印象深刻，关系周到，定义细致入微，但一系列相同的展品即使不单调，也可能是压倒性的。与此同时，展览感觉有点删节，因为第二部分将更加壮观，这对画廊来说是一个沉重的负担。尽管如此，《在美国：时尚词典》成功地提供了一个词汇，当人们考虑到展出的美国时尚时，会自然而然地进入这个词汇，并提出了一个最受时间考验的问题，这个问题甚至在建国之前就已经塑造了这个国家：谁才能成为美国人？
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Pub Date : 2022-05-03DOI: 10.1080/1362704X.2022.2069074
Yingzi Hu
Abstract The emergence of “the frigid style,” namely the appellation of minimalist fashion in China, is synchronized with a heightened national policy that aims at boosting reproduction and compensating for an aging society—a new phase of China’s sexual revolution since the economic reform in the late 1970s. This article argues that the frigid style, incarnating sexual aloofness, is a bodily defense against the discursive reconstruction of body for a reproductive agenda. The frigidly dressed body is not a conspicuous manifesto against biopolitics; instead, it incorporates the Chinese ideal of security and nobility. Articulated in the pursuit of security is a persona of nothingness safe from the normative discourses of ideal citizenship, while in nobility a fantasized western lifestyle that disregards the limitations on gender, class and race. Moreover, the rise of frigid style is accompanied by the popularization of what Lee Edelman calls “sinthomosexuality,” namely sex without any impetus of reproduction. The sinthomosexual outlook on bodily autonomy and agency connotes a new subjectivity in China—the construction of subjects appealing for apoliticality. This apolitical subjectivity might furnish us with a critical lens to look at normcore fashion across the globe.
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Pub Date : 2022-04-25DOI: 10.1080/1362704X.2022.2065783
Yuchen Guo
Abstract This paper aims to investigate cosplay—an activity in which participants wear costumes to portray a fictional character. Firstly, I conceptually distinguish cosplay from onstage acting, child pretend play, and similar cases. I argue that cosplay is based on self-oriented perspective-taking and is more committed to the character than pretend play but less committed than onstage acting. Subsequently, I argue that cosplay is a type of hybrid art or a hybrid of art forms—a combination of photography, dramatic acting, and fashion performance.
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Pub Date : 2022-04-16DOI: 10.1080/1362704X.2022.2070979
V. Steele
{"title":"Letter from the Editor","authors":"V. Steele","doi":"10.1080/1362704X.2022.2070979","DOIUrl":"https://doi.org/10.1080/1362704X.2022.2070979","url":null,"abstract":"","PeriodicalId":51687,"journal":{"name":"Fashion Theory-The Journal of Dress Body & Culture","volume":"26 1","pages":"303 - 305"},"PeriodicalIF":1.0,"publicationDate":"2022-04-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43851504","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 : 2022-04-14DOI: 10.1080/1362704X.2022.2055918
Djurdja Bartlett
Abstract This article offers a political reading of the status of the object during the Perestroika years (1986–1991) and the immediate post-Soviet period in the early 1990s. Long-established Soviet cultural values and practices underwent a dramatic upheaval in everyday life and economy, as well as in art and fashion, which radically changed the ontological status of the object, and the relationship between the subject and the object. Focusing on three distinctive kinds of objects—austere, fragile and unruly—the article analyzes these changes through the practices of some leading players in art and fashion. Primary visual and textual research, as well as oral-history testimonials, are embedded in theoretical frameworks from art history, and fashion and cultural studies.
{"title":"Objects, People, Politics: From Perestroika to the Post-Soviet Era","authors":"Djurdja Bartlett","doi":"10.1080/1362704X.2022.2055918","DOIUrl":"https://doi.org/10.1080/1362704X.2022.2055918","url":null,"abstract":"Abstract This article offers a political reading of the status of the object during the Perestroika years (1986–1991) and the immediate post-Soviet period in the early 1990s. Long-established Soviet cultural values and practices underwent a dramatic upheaval in everyday life and economy, as well as in art and fashion, which radically changed the ontological status of the object, and the relationship between the subject and the object. Focusing on three distinctive kinds of objects—austere, fragile and unruly—the article analyzes these changes through the practices of some leading players in art and fashion. Primary visual and textual research, as well as oral-history testimonials, are embedded in theoretical frameworks from art history, and fashion and cultural studies.","PeriodicalId":51687,"journal":{"name":"Fashion Theory-The Journal of Dress Body & Culture","volume":"26 1","pages":"525 - 544"},"PeriodicalIF":1.0,"publicationDate":"2022-04-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49325217","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 : 2022-04-12DOI: 10.1080/1362704X.2022.2048527
Agnès Rocamora
Abstract The article approaches the field of fashion influencers as an instance of the pervasive power of datafication and quantification in everyday life. It discusses the role of metrics in the fashion influencer economy, and the quantification of the self it goes hand in hand with, a quantification that is also an object of struggle in the field of influencer marketing. Drawing on conceptual tools such as “like economy” and “data capitalism,” as well as on the work of Bourdieu, it points to the instrumentalisation of numbers for economic purposes, and the centrality of such numbers to the business of fashion influence. Drawing on Moore’s notion of “quantified worker” it conceptualizes fashion influencers as iterations of the “quantified self.” The article elaborates on the centrality of quantified data in influencer marketing companies’ quest for a dominant position in the field. It discusses the ways it participates in the quantification of the business of influence, further tightening the relation between capitalism, quantification and datafication in the field of fashion.
{"title":"The Datafication and Quantification of Fashion: The Case of Fashion Influencers","authors":"Agnès Rocamora","doi":"10.1080/1362704X.2022.2048527","DOIUrl":"https://doi.org/10.1080/1362704X.2022.2048527","url":null,"abstract":"Abstract The article approaches the field of fashion influencers as an instance of the pervasive power of datafication and quantification in everyday life. It discusses the role of metrics in the fashion influencer economy, and the quantification of the self it goes hand in hand with, a quantification that is also an object of struggle in the field of influencer marketing. Drawing on conceptual tools such as “like economy” and “data capitalism,” as well as on the work of Bourdieu, it points to the instrumentalisation of numbers for economic purposes, and the centrality of such numbers to the business of fashion influence. Drawing on Moore’s notion of “quantified worker” it conceptualizes fashion influencers as iterations of the “quantified self.” The article elaborates on the centrality of quantified data in influencer marketing companies’ quest for a dominant position in the field. It discusses the ways it participates in the quantification of the business of influence, further tightening the relation between capitalism, quantification and datafication in the field of fashion.","PeriodicalId":51687,"journal":{"name":"Fashion Theory-The Journal of Dress Body & Culture","volume":"26 1","pages":"1109 - 1133"},"PeriodicalIF":1.0,"publicationDate":"2022-04-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44780453","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 : 2022-04-04DOI: 10.1080/1362704X.2022.2046869
S. Delice
Abstract Ideas and concepts have their own lives and resilience, to which one should be sensitive. This article focuses on the ways in which a group of Indian artisan organizations and collectives deploy—in their critical exchange with a designer and retailer that have privileged access to the transnationally circulating capital—the concept of appropriation as a tool to confront the hierarchical divisions of labor, and the unequal distribution of capital, within the globalized circuits of transnational fashion production. In bringing together Karl Marx’s critique of the appropriation of living labor by objectified labor and David Harvey’s critical exposé of the new mechanisms of “accumulation by dispossession,” and connecting these labor-focused perspectives on appropriation to the phenomenon of so-called cultural appropriation, the following investigates the potentiality of appropriation in facilitating a transnational labor ethics that defies the problematic segregation of the “design” and “creative” processes from the increasingly alienated and absorbed productive forces of the dispossessed artisan and craft communities.
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Pub Date : 2022-03-14DOI: 10.1080/1362704X.2022.2046867
A. Moloney, Wanda Lephoto, Erica de Greef
Abstract Museum Africa is Johannesburg’s social and cultural history museum and holds within its collection the Bernberg Costumes & Textiles Collection; an extensive collection of predominantly white-owned European fashion objects with some 16,562 items dating from the 1800 s to the late 1900s, imported into South Africa or made locally. This article documents the continued enquiry between South African fashion designer and artist Wanda Lephoto, London-based fashion curator Alison Moloney, and South African-based fashion curator and academic Dr Erica de Greef who together have been grappling with the violence of absence of black South African fashion histories and narratives that is revealed in the museum’s store. This enquiry is founded on a phenomenological approach to dress curatorship with the intention to unravel the collection’s epistemology through an interrogation of decolonial curatorial methodologies. The artistic interventions aim to disrupt the Eurocentric and exclusionary acquisition practices and fashion discourses that are represented by these seemingly “innocent” but deeply problematic objects. Can an engagement with these fashion objects through experiments with museological interventions decolonize and unpack the complex histories held within the collection and contribute to a process of healing?
非洲抽象博物馆是约翰内斯堡的社会和文化历史博物馆，收藏有伯尔尼伯格服装和纺织品收藏；以白人为主的欧洲时尚收藏品，约有16562件可追溯到1800年 20世纪末，进口到南非或在当地制造。本文记录了南非时装设计师兼艺术家Wanda Lephoto、伦敦时装策展人Alison Moloney和南非时装策展员兼学者Erica de Greef博士之间的持续询问，他们一直在努力应对博物馆商店中揭露的南非黑人时尚历史和叙事的缺失所带来的暴力。这一调查建立在服装策展的现象学方法之上，目的是通过对非殖民化策展方法的质疑来揭示藏品的认识论。艺术干预旨在破坏这些看似“无辜”但问题重重的物品所代表的以欧洲为中心、排斥性的获取实践和时尚话语。通过博物馆干预实验与这些时尚物品接触，能否使藏品中的复杂历史去殖民化和解开，并有助于愈合过程？
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