{"title":"The Woven Art of Baluchar, curated by Art Konsult: Art Gallery for Contemporary Indian Art, New Delhi, India, 18 August‐21 September 2021","authors":"S. Bhattacharya","doi":"10.1386/csfb_00029_5","DOIUrl":"https://doi.org/10.1386/csfb_00029_5","url":null,"abstract":"","PeriodicalId":53799,"journal":{"name":"Critical Studies in Fashion & Beauty","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48055939","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this introduction to the 12.2 issue of Critical Studies in Fashion & Beauty, the editors preview and consider several crisscrossing themes across the articles and reviews: affect, the body and gender, as well as class, race, nationality and other subject positions. The articles and reviews also represent a range of places and times. Diversity and heterogeneity of themes and objects of enquiry are distinctive characteristics of critical fashion studies today. The crisscrossing of themes reflects an equal amount of crisscrossing of theories, methodologies and epistemologies in our highly interdisciplinary field. Crisscrossing can be described as intersecting paths that diverge in different directions at each crossroad or intersection. Imagine for example an irregular embroidery cross-stitch pattern: while emphasizing intersections, there may be differences in the lengths of the stitches and the ways in which they are arranged. The cross-stitches may be shaped in nonlinear formats, even more so when they are not so tidy and ‐ instead ‐ are random, abstract or ambiguous. The editors argue that the importance of ambiguity has long been a theme in critical fashion studies.
{"title":"Crisscrossing through critical fashion studies: Inclusive and interdisciplinary intersections","authors":"A. Smelik, S. Kaiser","doi":"10.1386/csfb_00033_2","DOIUrl":"https://doi.org/10.1386/csfb_00033_2","url":null,"abstract":"In this introduction to the 12.2 issue of Critical Studies in Fashion & Beauty, the editors preview and consider several crisscrossing themes across the articles and reviews: affect, the body and gender, as well as class, race, nationality and other subject positions. The\u0000 articles and reviews also represent a range of places and times. Diversity and heterogeneity of themes and objects of enquiry are distinctive characteristics of critical fashion studies today. The crisscrossing of themes reflects an equal amount of crisscrossing of theories, methodologies\u0000 and epistemologies in our highly interdisciplinary field. Crisscrossing can be described as intersecting paths that diverge in different directions at each crossroad or intersection. Imagine for example an irregular embroidery cross-stitch pattern: while emphasizing intersections, there may\u0000 be differences in the lengths of the stitches and the ways in which they are arranged. The cross-stitches may be shaped in nonlinear formats, even more so when they are not so tidy and ‐ instead ‐ are random, abstract or ambiguous. The editors argue that the importance of ambiguity\u0000 has long been a theme in critical fashion studies.","PeriodicalId":53799,"journal":{"name":"Critical Studies in Fashion & Beauty","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42712529","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Review of: Crossing Gender Boundaries: Fashion to Create, Disrupt and Transcend, Andrew Reilly and Ben Barry (eds) (2020)Bristol: Intellect Ltd, 225 pp.,ISBN 978-1-78938-153-5, h/bk, $106.50
{"title":"Crossing Gender Boundaries: Fashion to Create, Disrupt and Transcend, Andrew Reilly and Ben Barry (eds) (2020)","authors":"L. Bradley","doi":"10.1386/csfb_00028_5","DOIUrl":"https://doi.org/10.1386/csfb_00028_5","url":null,"abstract":"Review of: Crossing Gender Boundaries: Fashion to Create, Disrupt and Transcend, Andrew Reilly and Ben Barry (eds) (2020)Bristol: Intellect Ltd, 225 pp.,ISBN 978-1-78938-153-5, h/bk, $106.50","PeriodicalId":53799,"journal":{"name":"Critical Studies in Fashion & Beauty","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43823693","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Oceanista ‐ Fashion & The Sea, curated by Maria Mackinney-Valentin and Marie Ørstedholm, Maritime Museum of Denmark, Elsinore, Denmark, 21 April‐28 November 2021","authors":"Philip Warkander","doi":"10.1386/csfb_00030_5","DOIUrl":"https://doi.org/10.1386/csfb_00030_5","url":null,"abstract":"","PeriodicalId":53799,"journal":{"name":"Critical Studies in Fashion & Beauty","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43190980","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"E/MOTION. Fashion in Transition, MoMu, Antwerp, Belgium, 4 September 2021‐23 January 2022 P.LACE.S: Looking through Antwerp Lace, MoMu and four other locations, 25 September 2021‐9 January 2022","authors":"Nicola Brajato","doi":"10.1386/csfb_00032_5","DOIUrl":"https://doi.org/10.1386/csfb_00032_5","url":null,"abstract":"","PeriodicalId":53799,"journal":{"name":"Critical Studies in Fashion & Beauty","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48324842","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This photo essay explores the intersections of gender, fatness and fashion through an innovative and evocative arts-based methodology involving collaboratively constructed macro, or close-up, photographs, portraits and garment images. With these images, we can examine people’s experiences at the intersections of fat and gender through one of the most visible and embodied ways by which we construct and resist dominant narratives about these subject positions: fashion and self-fashioning. The Sizing Up Gender project engaged twelve self-identified cis-gender, trans, non-binary and two-spirit fat people across diverse race, class and other subject positions. Their narratives disrupt many dominant understandings of fat bodies and fashion and introduce a joyfulness to the story of dressing fat bodies that has been sorely neglected. We connect these feelings of joy to the concept of fabulousness, and consider how our participants’ experiences of joy and risk are not only due to genders, races and sexualities but also to how these identities intersect with their fat embodiments, fatphobia and weight stigma. The images presented here, particularly the macro photographs, force us to look more closely at the subject matter at hand and introduce a visual fabulousness of their own, a fabulousness that is rarely afforded to fat bodies.
{"title":"Sizing up gender: Bringing the joy of fat, gender and fashion into focus","authors":"C. Evans, Mindy Stricke, Ben Barry, May Friedman","doi":"10.1386/csfb_00031_3","DOIUrl":"https://doi.org/10.1386/csfb_00031_3","url":null,"abstract":"This photo essay explores the intersections of gender, fatness and fashion through an innovative and evocative arts-based methodology involving collaboratively constructed macro, or close-up, photographs, portraits and garment images. With these images, we can examine people’s\u0000 experiences at the intersections of fat and gender through one of the most visible and embodied ways by which we construct and resist dominant narratives about these subject positions: fashion and self-fashioning. The Sizing Up Gender project engaged twelve self-identified cis-gender,\u0000 trans, non-binary and two-spirit fat people across diverse race, class and other subject positions. Their narratives disrupt many dominant understandings of fat bodies and fashion and introduce a joyfulness to the story of dressing fat bodies that has been sorely neglected. We connect these\u0000 feelings of joy to the concept of fabulousness, and consider how our participants’ experiences of joy and risk are not only due to genders, races and sexualities but also to how these identities intersect with their fat embodiments, fatphobia and weight stigma. The images presented here,\u0000 particularly the macro photographs, force us to look more closely at the subject matter at hand and introduce a visual fabulousness of their own, a fabulousness that is rarely afforded to fat bodies.","PeriodicalId":53799,"journal":{"name":"Critical Studies in Fashion & Beauty","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43511055","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Fashion enchants, engrosses, caresses, itches, restrains, liberates, enfolds, reveals, protects and provokes. This article researches fashion’s ability to affect, and vice versa, how humans are affected by fashion. The first part introduces the main tenets of affect theory, while the second part of the article focuses on the pragmatics of affective method. We understand affect as both an autonomous force and a neurobiological bodily response to a trigger that offsets feelings and emotions. To practically engage with affective experiences and the bodily sensations, feelings and emotions they evoke, we use Laura U. Marks’s affective analysis as a a method. We describe our experiments with this affective method using two case studies: a couture dress designed by Dutch fashion designer Jan Taminiau and a simple T-shirt produced by fast fashion giant Primark. The case studies illustrate the affective qualities of fashion by researching embodied responses, feelings and emotions. The affective method aims to circumvent representation by focusing on the body and how it relates to what fashion can ‘do’. It also allows for a sustained focus on the materiality of the fashion object itself. The article argues that affective method is a valuable and compelling tool that can break open material fashion research, by foregrounding the embodied experiences, feelings and emotions that play a key role in our relationship with fashion.
{"title":"The affect of fashion: An exploration of affective method","authors":"M. V. van Tienhoven, A. Smelik","doi":"10.1386/csfb_00026_1","DOIUrl":"https://doi.org/10.1386/csfb_00026_1","url":null,"abstract":"Fashion enchants, engrosses, caresses, itches, restrains, liberates, enfolds, reveals, protects and provokes. This article researches fashion’s ability to affect, and vice versa, how humans are affected by fashion. The first part introduces the main tenets of affect theory, while\u0000 the second part of the article focuses on the pragmatics of affective method. We understand affect as both an autonomous force and a neurobiological bodily response to a trigger that offsets feelings and emotions. To practically engage with affective experiences and the bodily sensations,\u0000 feelings and emotions they evoke, we use Laura U. Marks’s affective analysis as a a method. We describe our experiments with this affective method using two case studies: a couture dress designed by Dutch fashion designer Jan Taminiau and a simple T-shirt produced by fast fashion giant\u0000 Primark. The case studies illustrate the affective qualities of fashion by researching embodied responses, feelings and emotions. The affective method aims to circumvent representation by focusing on the body and how it relates to what fashion can ‘do’. It also allows for a sustained\u0000 focus on the materiality of the fashion object itself. The article argues that affective method is a valuable and compelling tool that can break open material fashion research, by foregrounding the embodied experiences, feelings and emotions that play a key role in our relationship with fashion.","PeriodicalId":53799,"journal":{"name":"Critical Studies in Fashion & Beauty","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42950430","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article examines the subcultural Soviet movement Stiliagi from its appearance in 1948 to the early 1960s. The movement created countercultural fashion styles for men for the first time since the Communist Revolution in 1917. I argue that the movement and the lifestyle that were associated with it contributed to a change in the representation of masculinity in the Soviet Union by introducing a type of urban man interested in fashion and contemporary music. Stiliagi is represented in literary works and memoirs, along with the satirical press of the time. This study uses these sources along with personal interviews conducted by the author to show the full range of the movement. Using Connell’s notion of hegemonic masculinity, I look at Stiliagi as a type of alternative masculinity and argue that the fashion style and adherence to the movement were used strategically to navigate the dangerous landscape of Soviet ideological reality.
{"title":"Guys in a strange style: Subcultural masculinity of Soviet Stiliagi","authors":"Alla Myzelev","doi":"10.1386/csfb_00025_1","DOIUrl":"https://doi.org/10.1386/csfb_00025_1","url":null,"abstract":"This article examines the subcultural Soviet movement Stiliagi from its appearance in 1948 to the early 1960s. The movement created countercultural fashion styles for men for the first time since the Communist Revolution in 1917. I argue that the movement and the lifestyle that\u0000 were associated with it contributed to a change in the representation of masculinity in the Soviet Union by introducing a type of urban man interested in fashion and contemporary music. Stiliagi is represented in literary works and memoirs, along with the satirical press of the time.\u0000 This study uses these sources along with personal interviews conducted by the author to show the full range of the movement. Using Connell’s notion of hegemonic masculinity, I look at Stiliagi as a type of alternative masculinity and argue that the fashion style and adherence\u0000 to the movement were used strategically to navigate the dangerous landscape of Soviet ideological reality.","PeriodicalId":53799,"journal":{"name":"Critical Studies in Fashion & Beauty","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49125992","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Artworks record history. The images of women’s fashion and beauty presented in the art history of modern China illustrate explicitly the challenging, changing and circuitous development of women’s rights and feminism in the country. In this study, I analyse and contextualize the most widespread representations of Chinese ‘modern women’s fashion’: (1) the geisha-like ladies of news illustrations before the 1911 Revolution, (2) the poster-calendar girls in the republican aesthetics of an early commercial society, (3) the papercutting folk art that profiles ‘half the sky’ in the uniform aesthetics of Marxist‐Leninist‐Maoist propaganda, (4) the gender-specific art themes and materials applied by female artists after the opening-up policy and (5) the feminist art in the Chinese contemporary art world. The resulting analysis helps to elucidate the interconnections among fashion, art and women’s status in China, in pursuit of modernity, the radical expansion of western colonization, domestic political turmoil and, in particular, longstanding patriarchal cultural norms and values.
{"title":"Fashioning Chinese feminism: Representations of women in the art history of modern China","authors":"Shucheng Wang","doi":"10.1386/csfb_00027_1","DOIUrl":"https://doi.org/10.1386/csfb_00027_1","url":null,"abstract":"Artworks record history. The images of women’s fashion and beauty presented in the art history of modern China illustrate explicitly the challenging, changing and circuitous development of women’s rights and feminism in the country. In this study, I analyse and contextualize\u0000 the most widespread representations of Chinese ‘modern women’s fashion’: (1) the geisha-like ladies of news illustrations before the 1911 Revolution, (2) the poster-calendar girls in the republican aesthetics of an early commercial society, (3) the papercutting folk art that\u0000 profiles ‘half the sky’ in the uniform aesthetics of Marxist‐Leninist‐Maoist propaganda, (4) the gender-specific art themes and materials applied by female artists after the opening-up policy and (5) the feminist art in the Chinese contemporary art world. The resulting\u0000 analysis helps to elucidate the interconnections among fashion, art and women’s status in China, in pursuit of modernity, the radical expansion of western colonization, domestic political turmoil and, in particular, longstanding patriarchal cultural norms and values.","PeriodicalId":53799,"journal":{"name":"Critical Studies in Fashion & Beauty","volume":"7 7-8","pages":""},"PeriodicalIF":0.4,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41301878","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this article I consider fashion as a key modality through which young Fiji citizens experience modernity and construct contemporary self-identities in dialogue with global popular culture. A multi-dimensional tool, fashion is effectively used as self-performance; a way of carrying the body in public spaces, including dress and style as well as mannerisms, demeanour, body shape and comportment. It follows that fashion also intersects with other social categories such as gender, sexual identity and race in order to inform local social scripts in which people judge their own and others’ appearance and define the nature of a desirable, modern body.
{"title":"T-Shirts, style and the social construction of modern masculinities in urban Fiji","authors":"G. Presterudstuen","doi":"10.1386/csfb_00022_1","DOIUrl":"https://doi.org/10.1386/csfb_00022_1","url":null,"abstract":"In this article I consider fashion as a key modality through which young Fiji citizens experience modernity and construct contemporary self-identities in dialogue with global popular culture. A multi-dimensional tool, fashion is effectively used as self-performance; a way of carrying the body in public spaces, including dress and style as well as mannerisms, demeanour, body shape and comportment. It follows that fashion also intersects with other social categories such as gender, sexual identity and race in order to inform local social scripts in which people judge their own and others’ appearance and define the nature of a desirable, modern body.","PeriodicalId":53799,"journal":{"name":"Critical Studies in Fashion & Beauty","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47555469","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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