Fashion ology An Introduction to Fashion Studies Yuniya Kawamura20190916 44664 bscojy (original) (raw)
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Editorial Note- Hair Special Issue Fashion Theory, 2019
The importance of studying the body as a site for the deployment of discourses is well-established in a number of disciplines. By contrast, the study of fashion has, until recently, suffered from a lack of critical analysis. Increasingly, however, scholars have recognized the cultural significance of self-fashioning, including not only clothing but also such body alterations as tattooing and piercing. Fashion Theory takes as its starting point a definition of "fashion" as the cultural construction of the embodied identity. It provides an interdisciplinary forum for the rigorous analysis of cultural phenomena ranging from footbinding to fashion advertising.
Books in this provocative series seek to articulate the connections between culture and dress which is defined here in its broadest possible sense as any modification or supplement to the body. Interdisciplinary in approach, the series highlights the dialogue between identity and dress, cosmetics, coiffure and body alternations as manifested in practices as varied as plastic surgery, tattooing, and ritual scarification. The series aims, in particular, to analyze the meaning of dress in relation to popular culture and gender issues and will included works grounded in anthropology, sociology, history, art history, literature, and folklore.
Editorial foreword FCVC Network Special Issue: Clothing Cultures 6.1
Clothing Cultures (6.1), 2020
Editorial foreword to the FCVC Network Special Issue of Clothing Cultures (6.1, Intellect). Guest edited by Sarah Gilligan. Featuring articles by international established, early career and emerging scholars and practitioners. Baker, Claire A. 'An experiential investigation into the embroidery practices of the Chernobyl Babushka'. pp. 17-34(18) Kleiman, Anna 'Dress to oppress: Performing blasphemy on the red carpet' pp. 35-55(21) Ulusoy, Nilay 'It’s hard to do fashion in Istanbul ‐ or is it?' pp. 57-75(19) Venohr, Dagmar 'fake_fashion_agency: Aesthetical making and vestimentary tactics between geniuses, creativity and Shanzhai' pp. 77-96(20) Gerrie, Vanessa 'The Diet Prada effect: ‘Call-out culture’ in the contemporary fashionscape' pp. 97-113(17) Thomadaki, Theodora '‘Getting Naked with Gok Wan’: A psychoanalytic reading of How To Look Good Naked’s transformational narratives' pp. 115-134(20) https://www.ingentaconnect.com/content/intellect/cc/2019/00000006/00000001
Typology of Dress in Contemporary Fashion
Journal of the Korean Society of Clothing and Textiles
This study categorizes the formative aspects of dress and their implications according to the extent of revealing or concealing corporeality based on body perceptions. By considering the notion of dress as bodily practice to be a theoretical and methodological framework, this study combines a literature survey and case analysis to analyze and classify the forms of women's dress since the 1920s when contemporary fashion took hold. As examined in this study, the typology of dress was categorized as body-consciousness, deformation, transformation, and formlessness. Body-consciousness that is achieved through tailoring, bias cutting, and stretchy fabric displays corporeality focusing on the structure and function of the body as an internalized corset. Deformations in dress are categorized into two different subcategories. One is the expansion or reduction of bodily features based on the vertical or horizontal grids of the body, which visualizes the anachronistic restraint of the body through an innerwear as outerwear strategy. The other is exaggerations of the bodily features irrelevant to the grid, which break from the limitations and constraints of the body as well as traditional notions of the body. Transformations of the body refer to as follows. First, the deconstruction and restructuring of the body that deconstruct the stereotypes in garment construction. Second, the abstraction of the body that emphasizes the geometrical and architectural shapes. Third, transformable designs which pursue the expansion and multiplicity of function. Formlessness in dress denies the perception of three-dimensionality of the body through the planarization of the body.
Fashion Anthropology: Challenging Eurocentricity in Fashion Studies
The emerging sub-discipline of fashion anthropology is far from established despite its significant potential to contribute to rectifying some of the most obstinate misunderstandings in current fashion scholarship as a result of ethno- and euro- centric academic practice. One important potential, for example, lays in its ability to contest some prevailing false assumptions concerning both traditional and fashionable dress associated respectively with the non-West and West. It not only disputes misassumptions concerning so-called traditional dress as being merely static, authentic and symbolic rather than aesthetic, but also concerning fashion as being purely dynamic, innovative, aesthetic rather than symbolic, cosmopolitan and, most importantly, detached from its cultural heritage. This false dichotomy is predominantly the result of a disciplinary divide between the anthropology of dress and fashion studies, which has led to obsolete interpretations of key concepts like tradition, modernity, local, global, western and non-western. By combining the core principles and research techniques of anthropology with the key scholarship of fashion studies, fashion anthropology has the potential to rectify the misconception that fashion is a European/western invention and phenomenon. By emphasizing a true global perspective through cross-cultural comparisons based on extensive field research, it can contribute significantly to a new, all-inclusive, definition of fashion that acknowledges a wide scope of fashion systems across the globe. Contrary to fashion studies, which are based on European costume history, fashion anthropology has a central role to play in rectifying the misunderstanding that fashion was solemnly introduced in the so-called non-West by European encounter, denying local fashion histories altogether. On the contrary, fashion anthropology focuses on fashion as highly linked to context-specific cultural, historical, economic, political and religious developments in all parts of the world rather than a mere cultural appropriation from the West through recent processes of globalization. Because fashion anthropology is a developing sub-discipline, little is know about it and therefore the principal aim of this paper is to identify the core aspects of fashion anthropology, its principal methodology as well as the high potentials it entails for both dress and fashion studies.
Modern Fashion Traditions: Introduction
Modern Fashion Traditions, 2016
The aim of this volume, Modern Fashion Traditions, is to disrupt a persistent euro- and ethnocentricity in fashion discourse by bringing together research by authors who are engaged in creative and critical thinking concerning fashion, in a wide scope of geographical areas, from a wide variety of disciplines, and from a cross-cultural perspective. The key premise is that fashion in a non-Western context is not a mere adoption of a European phenomenon or a recent outcome of globalization. Non-Western fashion has its own historical and socio-cultural relevance. To this end, the objectives of this volume are: * to disrupt persistent euro- and ethnocentric academic practice in fashion studies by challenging simple, linear, oppositional, and essentialist thinking, resulting in false dichotomies like tradition versus modernity, dress versus fashion, West versus Non-West, local versus global, etc. * to contest the idea that fashion outside of Europe and North America is a recent phenomenon and/or a result of globalization. * to acknowledge that different fashion systems have been, and are, located all around the world, and that these have been developing in conjunction, competition, collaboration, and independently from the European fashion system. * to not only dispute misassumptions concerning non-European fashion as being static, authentic and symbolic, but also concerning European fashion as being arbitrary, innovative, and, most importantly, detached from its cultural context. * to provide a platform for developing alternative, inclusive theoretical frameworks to analyze fashion from a global perspective, and to establish new terminology that surpasses current Eurocentric discourse in relation to fashion.
Looking sharp: fashion studies
2012
Fashion and clothing construct, reproduce and challenge all kinds of identity and they do so visually and immediately. The meanings of the visual here, the meanings of what people are wearing, are quickly learned and readily understood by all members of all cultures: learning and understanding those meanings may even be said to be the conditions for membership of those cultures. So, for example within seconds of seeing or meeting someone we make a series of judgements concerning identity and culture, about who they are and whether we will have anything in common with them, on the basis of what they are wearing. Rarely, if ever, do we wonder what people mean by the things they wear or dismiss garments as meaningless: meaning and identity are constructed, negotiated and understood constantly in visual fashion. The centrality of fashion and clothing to the concerns of this collection (the concern with visuality, meaning, identity, society and culture), should nor need emphasizing. Soci...
This essay considers the role of artefacts in the historical study of dress and fashion and suggests the existence of three different approaches. The field of history of dress and costume has a long tradition going back to the nineteenth century. It adopts the methodologies of art history and considers artefacts as central to the analysis of different periods and themes. In the last few decades the emergence of fashion studies has been interpreted as a distancing from artefacts. It is here claimed that fashion studies brought theoretical rigour and embraced a deductive methodology of analysis in which artefacts still played an important function. The final part of this essay introduces the reader to what I call the material culture of fashion, a hybrid methodology borrowed from anthropology and archeology in which the object is central in the study of social, cultural and economic practices that are time specific. It shows in particular the challenges and paybacks of such an approach.
AT HOME IN MY BODY: SARTORIAL PRACTICES OF YOUNG PAKISTANI WOMEN IN THE NETHERLANDS
Dress, clothing and sartorial practices are important forms of self-expression and communication with the social body. However, some forms of dress and their meanings have been politicized: Muslim sartorial practices, seen as a homogenous embodiments of tradition, have been highly criticized in western European countries. This article looks at the sartorial practices of young Pakistani women in the Netherlands, arguing that heterogeneity is the main characteristic of Muslim minorities while dressing practices are as much the product of tradition as a continuous innovation and engagement with fashion.