Pub Date : 2022-03-10DOI: 10.1080/1362704X.2022.2046863
C. Stevenson
Abstract Fashion education is caught in a moment of intense transformation. While the fashion industry continues along a reckless path of social and environmental destruction, a new generation of students are activating our educational institutions, demanding real and radical change. Meanwhile, the theoretical field of Fashion Studies has rapidly taken a central position in imagining a new vision of fashion in a global context, re-writing problematic histories, challenging Eurocentric dominance and dismantling prevailing ideologies. This article, in the form of a manifesto for educators, calls for a return to the origins of fashion scholarship within the discipline of British Cultural Studies. It asks what we might learn from Cultural Studies’ intersection with Critical Pedagogy as a way to “do” fashion politics within our classrooms. By drawing on initiatives pioneered by the Cultural and Historical Studies Department at London College of Fashion, this manifesto explores how British Cultural Studies can be re-articulated for our current times, in order to forge new alliances between theory and practice, and enact radical action beyond the walls of our academic institutions.
{"title":"Radical Pedagogies: Right Here, Right Now!","authors":"C. Stevenson","doi":"10.1080/1362704X.2022.2046863","DOIUrl":"https://doi.org/10.1080/1362704X.2022.2046863","url":null,"abstract":"Abstract Fashion education is caught in a moment of intense transformation. While the fashion industry continues along a reckless path of social and environmental destruction, a new generation of students are activating our educational institutions, demanding real and radical change. Meanwhile, the theoretical field of Fashion Studies has rapidly taken a central position in imagining a new vision of fashion in a global context, re-writing problematic histories, challenging Eurocentric dominance and dismantling prevailing ideologies. This article, in the form of a manifesto for educators, calls for a return to the origins of fashion scholarship within the discipline of British Cultural Studies. It asks what we might learn from Cultural Studies’ intersection with Critical Pedagogy as a way to “do” fashion politics within our classrooms. By drawing on initiatives pioneered by the Cultural and Historical Studies Department at London College of Fashion, this manifesto explores how British Cultural Studies can be re-articulated for our current times, in order to forge new alliances between theory and practice, and enact radical action beyond the walls of our academic institutions.","PeriodicalId":51687,"journal":{"name":"Fashion Theory-The Journal of Dress Body & Culture","volume":"26 1","pages":"465 - 473"},"PeriodicalIF":1.0,"publicationDate":"2022-03-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47365546","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 : 2022-03-09DOI: 10.1080/1362704X.2022.2047290
Andrzej Leśniak
Abstract Virgil Abloh’s design strategies are among the most recognizable in the current fashion world. This paper aims at exploring the American designer’s relevance and relates his practice to contemporary theorizations of creativity. By focusing on Abloh’s ways of creating the new, the article argues that Pyrex Vision, Off-White, and Louis Vuitton men’s collection garments, footwear, and accessories blend the participatory culture of Instagram and other internet platforms with strategies of modern art. Appropriation, mounting, and other techniques of reusing preexisting forms, materials, and signs provide both a moment of recognition of what is known, as well as an element of novelty which is a necessary prerequisite of a product in the ecosystem of social media-driven attention deficit. The author concludes by analyzing Abloh’s practice within the context of the emergence of the enrichment economy.
{"title":"Transcriptions and Relative Novelty: Virgil Abloh’s Design Strategies","authors":"Andrzej Leśniak","doi":"10.1080/1362704X.2022.2047290","DOIUrl":"https://doi.org/10.1080/1362704X.2022.2047290","url":null,"abstract":"Abstract Virgil Abloh’s design strategies are among the most recognizable in the current fashion world. This paper aims at exploring the American designer’s relevance and relates his practice to contemporary theorizations of creativity. By focusing on Abloh’s ways of creating the new, the article argues that Pyrex Vision, Off-White, and Louis Vuitton men’s collection garments, footwear, and accessories blend the participatory culture of Instagram and other internet platforms with strategies of modern art. Appropriation, mounting, and other techniques of reusing preexisting forms, materials, and signs provide both a moment of recognition of what is known, as well as an element of novelty which is a necessary prerequisite of a product in the ecosystem of social media-driven attention deficit. The author concludes by analyzing Abloh’s practice within the context of the emergence of the enrichment economy.","PeriodicalId":51687,"journal":{"name":"Fashion Theory-The Journal of Dress Body & Culture","volume":"26 1","pages":"821 - 837"},"PeriodicalIF":1.0,"publicationDate":"2022-03-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41328522","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 : 2022-03-03DOI: 10.1080/1362704X.2022.2028371
M. O’Connell
{"title":"Fashion Remains: Rethinking Fashion Ephemera in the Archive","authors":"M. O’Connell","doi":"10.1080/1362704X.2022.2028371","DOIUrl":"https://doi.org/10.1080/1362704X.2022.2028371","url":null,"abstract":"","PeriodicalId":51687,"journal":{"name":"Fashion Theory-The Journal of Dress Body & Culture","volume":"26 1","pages":"442 - 451"},"PeriodicalIF":1.0,"publicationDate":"2022-03-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42523714","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 : 2022-02-23DOI: 10.1080/1362704X.2022.2045761
V. Steele
{"title":"Letter from the Editor","authors":"V. Steele","doi":"10.1080/1362704X.2022.2045761","DOIUrl":"https://doi.org/10.1080/1362704X.2022.2045761","url":null,"abstract":"","PeriodicalId":51687,"journal":{"name":"Fashion Theory-The Journal of Dress Body & Culture","volume":"26 1","pages":"151 - 153"},"PeriodicalIF":1.0,"publicationDate":"2022-02-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42069959","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 : 2022-01-24DOI: 10.1080/1362704X.2022.2027680
E. Karpova, Kelly L. Reddy-Best, Farimah Bayat
Abstract Drawing on institutional theory, we examined New York Times readers’ views on fashion’s environmental impact by analyzing and interpreting comments posted in response to a sustainability and fashion-focused opinion article. Based on our interpretations, we developed a model to think through new opportunities in the mechanics of the organizational field of fashion. Collectively, readers identified multiple actors responsible for fashion market’s environmental footprint: consumers, industry, and governing institutions. Further, readers offered various approaches for addressing the fashion environmental footprint—from conscious consumption practices to industry shifts and governmental regulations. We discovered two fashion logics—the logic of dress codes and the logic of planned obsolescence—that extend our understanding of the fashion system. The two fashion logics operate within the larger, overriding logic of capitalism that defines the behaviors of and relationships between the actors in the fashion marketplace. Recognizing societal norms, or institutional logics, that serve as barriers to a sustainable future of the fashion market has profound implications for realizing this future. We demonstrate how the fashion logics are being challenged for their moral legitimacy as the logics’ materialistic values are at odds with sustainability values and centering environmental justice.
{"title":"The Fashion System’s Environmental Impact: Theorizing the Market’s Institutional Actors, Actions, Logics, and Norms","authors":"E. Karpova, Kelly L. Reddy-Best, Farimah Bayat","doi":"10.1080/1362704X.2022.2027680","DOIUrl":"https://doi.org/10.1080/1362704X.2022.2027680","url":null,"abstract":"Abstract Drawing on institutional theory, we examined New York Times readers’ views on fashion’s environmental impact by analyzing and interpreting comments posted in response to a sustainability and fashion-focused opinion article. Based on our interpretations, we developed a model to think through new opportunities in the mechanics of the organizational field of fashion. Collectively, readers identified multiple actors responsible for fashion market’s environmental footprint: consumers, industry, and governing institutions. Further, readers offered various approaches for addressing the fashion environmental footprint—from conscious consumption practices to industry shifts and governmental regulations. We discovered two fashion logics—the logic of dress codes and the logic of planned obsolescence—that extend our understanding of the fashion system. The two fashion logics operate within the larger, overriding logic of capitalism that defines the behaviors of and relationships between the actors in the fashion marketplace. Recognizing societal norms, or institutional logics, that serve as barriers to a sustainable future of the fashion market has profound implications for realizing this future. We demonstrate how the fashion logics are being challenged for their moral legitimacy as the logics’ materialistic values are at odds with sustainability values and centering environmental justice.","PeriodicalId":51687,"journal":{"name":"Fashion Theory-The Journal of Dress Body & Culture","volume":"26 1","pages":"799 - 820"},"PeriodicalIF":1.0,"publicationDate":"2022-01-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42653733","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 : 2022-01-12DOI: 10.1080/1362704X.2021.2000811
Roberto Filippello
Abstract This article is an analysis of critical fashion practices in Israel/Palestine based on interviews conducted with two design teams: Israeli-Palestinian brand ADISH and Palestinian brand tRASHY. These two brands share a commitment to fashion design and fashion image-making as tools of community building: a project that goes hand in hand with a rethinking of systems of production and labor. The aesthetic and political dimension of their practices, however, are inevitably marked by the different experiences and positionalities (as Israelis or Palestinians) of their respective founders. I situate their creative practices in the wake of the post-Oslo Accords and suggest that such practices should be understood as part of a broader creative solidarity movement that contests nationalism, oppression, and separation. The affective labor involved in the development of community-building design projects, the cooperative creative process, and the generation of capital used to support local female workers as well as refugee and/or LGBTQ populations in Palestine are the constituents of a larger grassroots mobilization aimed at fostering change. This article contributes to ongoing scholarly work on art practices of world-making and explores how fashion could provide a stage for rethinking both the aesthetic and the political in a contested sociopolitical landscape.
{"title":"Fashion Statements in a Site of Conflict","authors":"Roberto Filippello","doi":"10.1080/1362704X.2021.2000811","DOIUrl":"https://doi.org/10.1080/1362704X.2021.2000811","url":null,"abstract":"Abstract This article is an analysis of critical fashion practices in Israel/Palestine based on interviews conducted with two design teams: Israeli-Palestinian brand ADISH and Palestinian brand tRASHY. These two brands share a commitment to fashion design and fashion image-making as tools of community building: a project that goes hand in hand with a rethinking of systems of production and labor. The aesthetic and political dimension of their practices, however, are inevitably marked by the different experiences and positionalities (as Israelis or Palestinians) of their respective founders. I situate their creative practices in the wake of the post-Oslo Accords and suggest that such practices should be understood as part of a broader creative solidarity movement that contests nationalism, oppression, and separation. The affective labor involved in the development of community-building design projects, the cooperative creative process, and the generation of capital used to support local female workers as well as refugee and/or LGBTQ populations in Palestine are the constituents of a larger grassroots mobilization aimed at fostering change. This article contributes to ongoing scholarly work on art practices of world-making and explores how fashion could provide a stage for rethinking both the aesthetic and the political in a contested sociopolitical landscape.","PeriodicalId":51687,"journal":{"name":"Fashion Theory-The Journal of Dress Body & Culture","volume":"27 1","pages":"205 - 235"},"PeriodicalIF":1.0,"publicationDate":"2022-01-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41516951","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 : 2022-01-06DOI: 10.1080/1362704X.2021.2017213
Marco Pedroni
Abstract Influencers have monopolized media attention in recent years, the result of a long process lasting two decades dating from the rise of blogging at the beginning of the twenty-first century. In this article, I set out the historical framework in which the social media practitioners known as fashion bloggers and influencers have emerged and developed as relevant players in the field of fashion. I propose a reading of fashion blogging and influencing as a process articulated in four stages between 2000 and 2020. These two decades, marked by a progressive institutionalization of social media practice in the field of fashion, saw the advent of Instagram-based influencers in the second half of the 2010s and their continuing domination of fashion platforms, and TikTok’s rise in relevance in the same field during the early 2020s. I first explore the rise of fashion blogs in the early 2000s and the scholarly debate regarding its characteristics. I then frame the transition from blogging to Instagram, not just as a change of platform, but as an opportunity for the invention of a new occupation, the influencer, and the consecration of the business of influence. Lastly, I critically examine the concepts of influence and influencer.
{"title":"Two Decades of Fashion Blogging and Influencing: A Critical Overview","authors":"Marco Pedroni","doi":"10.1080/1362704X.2021.2017213","DOIUrl":"https://doi.org/10.1080/1362704X.2021.2017213","url":null,"abstract":"Abstract Influencers have monopolized media attention in recent years, the result of a long process lasting two decades dating from the rise of blogging at the beginning of the twenty-first century. In this article, I set out the historical framework in which the social media practitioners known as fashion bloggers and influencers have emerged and developed as relevant players in the field of fashion. I propose a reading of fashion blogging and influencing as a process articulated in four stages between 2000 and 2020. These two decades, marked by a progressive institutionalization of social media practice in the field of fashion, saw the advent of Instagram-based influencers in the second half of the 2010s and their continuing domination of fashion platforms, and TikTok’s rise in relevance in the same field during the early 2020s. I first explore the rise of fashion blogs in the early 2000s and the scholarly debate regarding its characteristics. I then frame the transition from blogging to Instagram, not just as a change of platform, but as an opportunity for the invention of a new occupation, the influencer, and the consecration of the business of influence. Lastly, I critically examine the concepts of influence and influencer.","PeriodicalId":51687,"journal":{"name":"Fashion Theory-The Journal of Dress Body & Culture","volume":"27 1","pages":"237 - 268"},"PeriodicalIF":1.0,"publicationDate":"2022-01-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48164118","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 : 2022-01-02DOI: 10.1080/1362704X.2020.1770399
Sílvia Rosés Castellsaguer
Abstract Cristóbal Balenciaga is currently enjoying a standing in the field of fashion as one of the greatest international designers in history and the most praised in the Spanish scene. Stylistically, his sources of inspiration are clearly identifiable, such as the revival of traditional Spanish clothing, a clear inspiration from religious clothing or the importance of the history of art, especially Spanish baroque. However, if we analyze the contribution of the key clothing brands in Spanish couture we discover that they all share, to one extent or another, that same collective stylistic imagination. This is a fact which leads us, necessarily, to analyze the Spanish context of the time—the Francoist Dictatorship—as a determining factor in explaining the aforementioned collective phenomenon and to distance that phenomenon from a personalized vision centered on Balenciaga.
{"title":"Spanish Couture: In the Shadow of Cristóbal Balenciaga","authors":"Sílvia Rosés Castellsaguer","doi":"10.1080/1362704X.2020.1770399","DOIUrl":"https://doi.org/10.1080/1362704X.2020.1770399","url":null,"abstract":"Abstract Cristóbal Balenciaga is currently enjoying a standing in the field of fashion as one of the greatest international designers in history and the most praised in the Spanish scene. Stylistically, his sources of inspiration are clearly identifiable, such as the revival of traditional Spanish clothing, a clear inspiration from religious clothing or the importance of the history of art, especially Spanish baroque. However, if we analyze the contribution of the key clothing brands in Spanish couture we discover that they all share, to one extent or another, that same collective stylistic imagination. This is a fact which leads us, necessarily, to analyze the Spanish context of the time—the Francoist Dictatorship—as a determining factor in explaining the aforementioned collective phenomenon and to distance that phenomenon from a personalized vision centered on Balenciaga.","PeriodicalId":51687,"journal":{"name":"Fashion Theory-The Journal of Dress Body & Culture","volume":"26 1","pages":"115 - 136"},"PeriodicalIF":1.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/1362704X.2020.1770399","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"59843808","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 : 2021-12-13DOI: 10.1080/1362704X.2021.2008117
B. Lemire
{"title":"Dressed: Fashionable Dress in Aoteoroa New Zealand 1840 to 1910","authors":"B. Lemire","doi":"10.1080/1362704X.2021.2008117","DOIUrl":"https://doi.org/10.1080/1362704X.2021.2008117","url":null,"abstract":"","PeriodicalId":51687,"journal":{"name":"Fashion Theory-The Journal of Dress Body & Culture","volume":"26 1","pages":"452 - 456"},"PeriodicalIF":1.0,"publicationDate":"2021-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49667127","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 : 2021-12-13DOI: 10.1080/1362704X.2021.1990524
Lisa Colpaert
Abstract Over the last three decades, the study of film costume design has become a burgeoning field that predominantly engaged with the cinematic costume and its relationship with the female spectator. As film scholars have seldom looked at or worked with the actual garments, little to no academic attention is spent on the knowledge, experience, and invisible work of the costume designers and executers working in this field. This article implements the research methodology of material culture analysis, established in the field of fashion studies, but neglected in the area of film costume design studies. By stepping into the physical world of costume objects, the material culture analysis allows us to look beyond film costumes as kinetic, immaterial film images, and enables us to elucidate the histories and esthetics of garments that were created for specific film performances. Through an archival encounter with an extant costume object, an understanding of the creative and collaborative work conducted in the wardrobe department is facilitated. The central case of this paper is the mink dress of Lady in the Dark, a lavish musical drama set in the fashion industry, and directed by Mitchell Leisen, who started his career as a costume designer.
{"title":"The Material Film Costume: Encountering the Mink Dress of Lady in the Dark (Leisen, 1944)","authors":"Lisa Colpaert","doi":"10.1080/1362704X.2021.1990524","DOIUrl":"https://doi.org/10.1080/1362704X.2021.1990524","url":null,"abstract":"Abstract Over the last three decades, the study of film costume design has become a burgeoning field that predominantly engaged with the cinematic costume and its relationship with the female spectator. As film scholars have seldom looked at or worked with the actual garments, little to no academic attention is spent on the knowledge, experience, and invisible work of the costume designers and executers working in this field. This article implements the research methodology of material culture analysis, established in the field of fashion studies, but neglected in the area of film costume design studies. By stepping into the physical world of costume objects, the material culture analysis allows us to look beyond film costumes as kinetic, immaterial film images, and enables us to elucidate the histories and esthetics of garments that were created for specific film performances. Through an archival encounter with an extant costume object, an understanding of the creative and collaborative work conducted in the wardrobe department is facilitated. The central case of this paper is the mink dress of Lady in the Dark, a lavish musical drama set in the fashion industry, and directed by Mitchell Leisen, who started his career as a costume designer.","PeriodicalId":51687,"journal":{"name":"Fashion Theory-The Journal of Dress Body & Culture","volume":"26 1","pages":"1059 - 1081"},"PeriodicalIF":1.0,"publicationDate":"2021-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43067279","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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