Pub Date : 2021-12-13DOI: 10.1080/1362704X.2021.2003614
Jiya Li
{"title":"Book Review: A Guide to Traditional Yi Costumes and Ornaments","authors":"Jiya Li","doi":"10.1080/1362704X.2021.2003614","DOIUrl":"https://doi.org/10.1080/1362704X.2021.2003614","url":null,"abstract":"","PeriodicalId":51687,"journal":{"name":"Fashion Theory-The Journal of Dress Body & Culture","volume":"26 1","pages":"291 - 297"},"PeriodicalIF":1.0,"publicationDate":"2021-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48030383","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.2021.2009187
Will Visconti
Abstract The Marchesa Luisa Casati has become a perennial muse of fashion designers in recent decades, from haute couture to High Street brands. Collections inspired by the Marchesa link to her background and the history of the spaces that she inhabited. Casati was born in Italy but lived and traveled between France, Italy and Britain, among other countries, where the cachet of her name has been combined with that of the fashion houses citing her as an inspiration. Despite her enduring reputation as an avant-garde style icon and a singular dresser who was just as likely to wear elaborate costumes as nothing at all, her engagement with fashion was not always as visibly eccentric as her posthumous impact suggests. Nor was it strictly within the binary of fashion and “anti-fashion”. Casati was at once a “disruptive” body and a conventionally stylish one. Popular memory has focused on the more “spectacular” and stylized elements of her esthetic. Archival evidence and artistic representation demonstrate how Casati constructed a wardrobe that melded the conventional and shocking, and how fashion played a role in the emergence of her chimerical public persona.
{"title":"The Marchesa Casati as Fashion Plate and Fashion Muse","authors":"Will Visconti","doi":"10.1080/1362704X.2021.2009187","DOIUrl":"https://doi.org/10.1080/1362704X.2021.2009187","url":null,"abstract":"Abstract The Marchesa Luisa Casati has become a perennial muse of fashion designers in recent decades, from haute couture to High Street brands. Collections inspired by the Marchesa link to her background and the history of the spaces that she inhabited. Casati was born in Italy but lived and traveled between France, Italy and Britain, among other countries, where the cachet of her name has been combined with that of the fashion houses citing her as an inspiration. Despite her enduring reputation as an avant-garde style icon and a singular dresser who was just as likely to wear elaborate costumes as nothing at all, her engagement with fashion was not always as visibly eccentric as her posthumous impact suggests. Nor was it strictly within the binary of fashion and “anti-fashion”. Casati was at once a “disruptive” body and a conventionally stylish one. Popular memory has focused on the more “spectacular” and stylized elements of her esthetic. Archival evidence and artistic representation demonstrate how Casati constructed a wardrobe that melded the conventional and shocking, and how fashion played a role in the emergence of her chimerical public persona.","PeriodicalId":51687,"journal":{"name":"Fashion Theory-The Journal of Dress Body & Culture","volume":"26 1","pages":"777 - 797"},"PeriodicalIF":1.0,"publicationDate":"2021-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46646542","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 : 2021-12-01DOI: 10.1080/1362704X.2021.2003607
B. Luthar, M. Pušnik
Abstract This study investigates jeans use as well as the discursive practices that framed jeans-wearing in 1960s and 1970s socialist Yugoslavia. We adopt a practice theory approach that goes beyond the expressive capacity of jeans and focuses on their material and practical capacity as an epitome of cultural transformation. Practices discussed include embodied practices enabled by jeans and those that have jeans as their target, such as smuggling, dreaming, remaking, appreciation of authentic jeans and rejection of domestic substitutes, emotions about jeans, wearing jeans, and public narratives regarding jeans. We find that the significance of jeans-wearing was created by difficulty of access, the practice of semi-legal smuggling, contact with the West, and the “Italianness” of jeans. Jeans are conceptualized as a key point of connection between material and social transformation and a new structure of feeling, including the intimate experience of the body and its public presentation. We argue that the study of material artifacts as integral to certain practices helps us approach the larger systemic dimensions of (socialist) subjectivity and social transformation against the backdrop of the symbolic boundaries that divided East and West.
{"title":"Clothing and Expressive Revolution: Wearing Jeans in Socialism","authors":"B. Luthar, M. Pušnik","doi":"10.1080/1362704X.2021.2003607","DOIUrl":"https://doi.org/10.1080/1362704X.2021.2003607","url":null,"abstract":"Abstract This study investigates jeans use as well as the discursive practices that framed jeans-wearing in 1960s and 1970s socialist Yugoslavia. We adopt a practice theory approach that goes beyond the expressive capacity of jeans and focuses on their material and practical capacity as an epitome of cultural transformation. Practices discussed include embodied practices enabled by jeans and those that have jeans as their target, such as smuggling, dreaming, remaking, appreciation of authentic jeans and rejection of domestic substitutes, emotions about jeans, wearing jeans, and public narratives regarding jeans. We find that the significance of jeans-wearing was created by difficulty of access, the practice of semi-legal smuggling, contact with the West, and the “Italianness” of jeans. Jeans are conceptualized as a key point of connection between material and social transformation and a new structure of feeling, including the intimate experience of the body and its public presentation. We argue that the study of material artifacts as integral to certain practices helps us approach the larger systemic dimensions of (socialist) subjectivity and social transformation against the backdrop of the symbolic boundaries that divided East and West.","PeriodicalId":51687,"journal":{"name":"Fashion Theory-The Journal of Dress Body & Culture","volume":"26 1","pages":"1083 - 1107"},"PeriodicalIF":1.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46225648","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 : 2021-11-16DOI: 10.1080/1362704X.2021.1997180
Marie‐Agnès Parmentier
{"title":"Consumer Contextual Learning: The Case of Fast Fashion Consumption","authors":"Marie‐Agnès Parmentier","doi":"10.1080/1362704X.2021.1997180","DOIUrl":"https://doi.org/10.1080/1362704X.2021.1997180","url":null,"abstract":"","PeriodicalId":51687,"journal":{"name":"Fashion Theory-The Journal of Dress Body & Culture","volume":"26 1","pages":"299 - 302"},"PeriodicalIF":1.0,"publicationDate":"2021-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45362788","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 : 2021-11-10DOI: 10.1080/1362704X.2022.2026126
W. Ling
Abstract The Wereldmuseum Rotterdam is planning to hold an exhibition on China in 2023 in which fashion and design are one of the exhibiting categories. In preparation for the event, the museum is proposing to use the cliché Made in China as a provocative title for the exhibition. A workshop with the museum curators was held in 2021 to question the materiality central to the stereotypes associated with the proposed phrase to inform the curatorial direction of the forthcoming exhibition. As a workshop contributor invited to address the inquiry, I have, in this article, examined the phrase itself and China as a place, heritage and concept. The country-of-origin effect of the “made in” label was taken to analyze the phrase. While the negative connotations of Made in China in the exhibition title might have an impact on the perception of the exhibition, two interlocking components—transcultural dynamics and a site of friction—arising from the labeling system constitute a curatorial concept within which Chineseness embedded in the museum fashion and design artifacts are the offspring of the typified multifaceted “China” exchange, connection, and transformation.
{"title":"Conceptualizing Made in China for a Museum Exhibition","authors":"W. Ling","doi":"10.1080/1362704X.2022.2026126","DOIUrl":"https://doi.org/10.1080/1362704X.2022.2026126","url":null,"abstract":"Abstract The Wereldmuseum Rotterdam is planning to hold an exhibition on China in 2023 in which fashion and design are one of the exhibiting categories. In preparation for the event, the museum is proposing to use the cliché Made in China as a provocative title for the exhibition. A workshop with the museum curators was held in 2021 to question the materiality central to the stereotypes associated with the proposed phrase to inform the curatorial direction of the forthcoming exhibition. As a workshop contributor invited to address the inquiry, I have, in this article, examined the phrase itself and China as a place, heritage and concept. The country-of-origin effect of the “made in” label was taken to analyze the phrase. While the negative connotations of Made in China in the exhibition title might have an impact on the perception of the exhibition, two interlocking components—transcultural dynamics and a site of friction—arising from the labeling system constitute a curatorial concept within which Chineseness embedded in the museum fashion and design artifacts are the offspring of the typified multifaceted “China” exchange, connection, and transformation.","PeriodicalId":51687,"journal":{"name":"Fashion Theory-The Journal of Dress Body & Culture","volume":"25 1","pages":"945 - 960"},"PeriodicalIF":1.0,"publicationDate":"2021-11-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47223388","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 : 2021-10-29DOI: 10.1080/1362704X.2021.1994172
P. McNeil
{"title":"Bally – A History of Footwear in the Interwar Period","authors":"P. McNeil","doi":"10.1080/1362704X.2021.1994172","DOIUrl":"https://doi.org/10.1080/1362704X.2021.1994172","url":null,"abstract":"","PeriodicalId":51687,"journal":{"name":"Fashion Theory-The Journal of Dress Body & Culture","volume":"26 1","pages":"283 - 289"},"PeriodicalIF":1.0,"publicationDate":"2021-10-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47245275","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 : 2021-10-28DOI: 10.1080/1362704X.2021.1991133
Petya V. Andreeva
Abstract Non-sedentary cultures have existed on the scholarly fringes and historiographical outskirts of the art-historical canon: there they remain to this day, buried between dated opposites like “east” and “west,” “high” and “minor” arts, torn by interdisciplinary tensions in art history, archaeology and ethnography. Nomadic societies are usually considered in cross-cultural studies only insofar as they can act as sufficiently expedient intermediaries linking settled empires in the designated “East” and “West,” hence the recent fascination with the Pontic Scythians who bordered, traded and fought with ancient Greece, or the Xiongnu whose nomadic confederation became a geopolitical threat to early imperial China. Yet, early pastoral nomads bordering China and Greece left behind a rich corpus of gold adornment which points to an elaborate system of image-making and highly conceptual designs rooted in zoomorphism. The following article focuses on the strategies of self-fashioning and funerary decor employed in the entombment of the elite in the early nomadic societies of Central Eurasia. Golden suits, composed of metonymically conveyed animal images, along with foreign exotica, were the normative elements of a noble’s funeral. Adornment had to showcase the elite’s life on earth as that of a daring, globally recognized politician and a proud steppe resident.
{"title":"Glittering Bodies: The Politics of Mortuary Self-Fashioning in Eurasian Nomadic Cultures (700 BCE-200 BCE)","authors":"Petya V. Andreeva","doi":"10.1080/1362704X.2021.1991133","DOIUrl":"https://doi.org/10.1080/1362704X.2021.1991133","url":null,"abstract":"Abstract Non-sedentary cultures have existed on the scholarly fringes and historiographical outskirts of the art-historical canon: there they remain to this day, buried between dated opposites like “east” and “west,” “high” and “minor” arts, torn by interdisciplinary tensions in art history, archaeology and ethnography. Nomadic societies are usually considered in cross-cultural studies only insofar as they can act as sufficiently expedient intermediaries linking settled empires in the designated “East” and “West,” hence the recent fascination with the Pontic Scythians who bordered, traded and fought with ancient Greece, or the Xiongnu whose nomadic confederation became a geopolitical threat to early imperial China. Yet, early pastoral nomads bordering China and Greece left behind a rich corpus of gold adornment which points to an elaborate system of image-making and highly conceptual designs rooted in zoomorphism. The following article focuses on the strategies of self-fashioning and funerary decor employed in the entombment of the elite in the early nomadic societies of Central Eurasia. Golden suits, composed of metonymically conveyed animal images, along with foreign exotica, were the normative elements of a noble’s funeral. Adornment had to showcase the elite’s life on earth as that of a daring, globally recognized politician and a proud steppe resident.","PeriodicalId":51687,"journal":{"name":"Fashion Theory-The Journal of Dress Body & Culture","volume":"27 1","pages":"175 - 204"},"PeriodicalIF":1.0,"publicationDate":"2021-10-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42412951","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 : 2021-10-27DOI: 10.1080/1362704X.2021.1990523
Connie Karol Burks
During her relatively brief but prolific career, spanning 1947–1954, Barbara Goalen became one of the most successful and widely-recognized fashion models in postwar Britain. Using extant material in her personal archive now housed in the Archive of Art and Design along with other image and text-based sources, this article traces the creation of Goalen’s public persona from anonymous face to renowned personality. Formed predominantly through images and text in mass media, it explores how this constructed ‘model persona’ powerfully denoted a particular aspect of the cultural zeitgeist in Britain at the time. Drawing on theories of photography, semiotics and celebrity the article discusses how Goalen represented and embodied a prescribed ‘ideal’ of society both physically, with her ‘look’, and culturally, with her persona, reflecting the dominant esthetic and cultural standards perpetuated by the fashion industry, and wider society, at the time. Following the growing body of work examining the significance of models in fashion history, this article uses Goalen as an example to demonstrate the important and active contributions that models make toward creating images and disseminating fashion culture, as well as representing a visual legacy of a moment in fashion.
{"title":"Model Woman: The Creation, Dissemination and Cultural Significance of Barbara Goalen’s Model Persona in Postwar Britain","authors":"Connie Karol Burks","doi":"10.1080/1362704X.2021.1990523","DOIUrl":"https://doi.org/10.1080/1362704X.2021.1990523","url":null,"abstract":"During her relatively brief but prolific career, spanning 1947–1954, Barbara Goalen became one of the most successful and widely-recognized fashion models in postwar Britain. Using extant material in her personal archive now housed in the Archive of Art and Design along with other image and text-based sources, this article traces the creation of Goalen’s public persona from anonymous face to renowned personality. Formed predominantly through images and text in mass media, it explores how this constructed ‘model persona’ powerfully denoted a particular aspect of the cultural zeitgeist in Britain at the time. Drawing on theories of photography, semiotics and celebrity the article discusses how Goalen represented and embodied a prescribed ‘ideal’ of society both physically, with her ‘look’, and culturally, with her persona, reflecting the dominant esthetic and cultural standards perpetuated by the fashion industry, and wider society, at the time. Following the growing body of work examining the significance of models in fashion history, this article uses Goalen as an example to demonstrate the important and active contributions that models make toward creating images and disseminating fashion culture, as well as representing a visual legacy of a moment in fashion.","PeriodicalId":51687,"journal":{"name":"Fashion Theory-The Journal of Dress Body & Culture","volume":"26 1","pages":"737 - 755"},"PeriodicalIF":1.0,"publicationDate":"2021-10-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48959125","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 : 2021-10-26DOI: 10.1080/1362704X.2021.1990548
Emily Brayshaw
Abstract The early twentieth-century Broadway stages and US vaudeville circuits boasted numerous successful performers, costumiers, producers and directors who understood that their luxurious costumes were crucial to a production’s success because they supported the show’s narrative and the performer’s personal brand. Costumes were themselves “actors” that performed via an actress’s body to reflect the social, cultural and economic landscapes they inhabited, spinning tales of notoriety, extravagance and celebrity that proved potent to audiences. In some cases, however, Broadway and vaudeville costumes were unruly, behaving in unintended ways and telling audiences stories that differed from a show’s narrative and highlighting social anxieties that audiences had come to the theater to escape. Drawing on theories of agency in costume and textile semantics, this article analyses early twentieth-century accounts of costumes behaving badly to argue that those reviled as disgusting by theater critics and audiences reflected classed fears of poverty and disease.
{"title":"Costume Behaving Badly: Poverty, Disease and Disgust in Early Twentieth-Century New York Vaudeville","authors":"Emily Brayshaw","doi":"10.1080/1362704X.2021.1990548","DOIUrl":"https://doi.org/10.1080/1362704X.2021.1990548","url":null,"abstract":"Abstract The early twentieth-century Broadway stages and US vaudeville circuits boasted numerous successful performers, costumiers, producers and directors who understood that their luxurious costumes were crucial to a production’s success because they supported the show’s narrative and the performer’s personal brand. Costumes were themselves “actors” that performed via an actress’s body to reflect the social, cultural and economic landscapes they inhabited, spinning tales of notoriety, extravagance and celebrity that proved potent to audiences. In some cases, however, Broadway and vaudeville costumes were unruly, behaving in unintended ways and telling audiences stories that differed from a show’s narrative and highlighting social anxieties that audiences had come to the theater to escape. Drawing on theories of agency in costume and textile semantics, this article analyses early twentieth-century accounts of costumes behaving badly to argue that those reviled as disgusting by theater critics and audiences reflected classed fears of poverty and disease.","PeriodicalId":51687,"journal":{"name":"Fashion Theory-The Journal of Dress Body & Culture","volume":"26 1","pages":"757 - 775"},"PeriodicalIF":1.0,"publicationDate":"2021-10-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42580789","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：