Fashion Theory Research Papers - Academia.edu (original) (raw)

'Fashion matters' proposes a new-materialist framework to look at global fashion. A new-materialist approach helps to highlight fashion's materiality and understand the hybrid mix of both local and global matters in fashion. An analysis... more

'Fashion matters' proposes a new-materialist framework to look at global fashion. A new-materialist approach helps to highlight fashion's materiality and understand the hybrid mix of both local and global matters in fashion. An analysis of the material details of the-often ironic-use of cultural heritage in contemporary Dutch fashion (e.g. Viktor&Rolf, Klavers van Engelen, The People of the Labyrinths, Oilily, Scotch & Soda) reveals how Dutch fashion designers tap into local clothing styles and crafts. Such examples are part of a growing preoccupation with local roots in times of globalisa-tion. The current interest of Western countries in their own local, national roots cannot be separated from a fascination for 'cultural otherness' and for 'other' local traditions. Fashion designers and firms establish a look that is both local and global at the same time; or: 'glocal.' The 'material turn' enables an understanding of 'glocal' fashion as both a material reuse of local crafts and as an immaterial phenomenon of globalized identities.

Debates over copyright and craft are particularly thorny, jumping as they do from notions of a common shared history of quilting bees and knitting circles that should be open and welcoming to all, passing through the idea that as an... more

What is fashion? Where does it come from? Why has it come to permeate modern life? In the last half century, questions like these have drawn serious academic reflection, resulting in a new field of research-fashion studies-and generating... more

What is fashion? Where does it come from? Why has it come to permeate modern life? In the last half century, questions like these have drawn serious academic reflection, resulting in a new field of research-fashion studies-and generating a rich multidisciplinary discussion. Yet theology's voice has been conspicuously absent in this conversation. The time has finally come for theology to break her silence and join this decades-long conversation. Fashion Theology is the first of its kind: a serious and long-overdue account of the dynamic relationship between theology and fashion. Chronicling the epic journey from ancient Christian sources to current developments in fashion studies, cultural theologian Robert Covolo navigates the rich history of Christian thought as well as recent political, social, aesthetic, literary, and performance theory. Far from mere disparity or quick resolution, Covolo demonstrates that fashion and theology inhabit a mutual terrain that has, until recently, scarcely been imagined. Covolo retraces the way theologians have taken up fashion across history, unveiling how Christian thinkers have been fascinated with fashion well before the academy's current focus, and bringing these insights into the conversation with fashion itself: the logic by which fashion operates, how fashion shapes our world, and the way fashion imperceptibly molds our personal lives. Within fashion's realms reside some of life's greatest challenges: the foundations of political power, the basis for social order, the nature of aesthetics, how we inhabit time, and the means by which we tell stories about our lives-challenges, it turns out, that theologians also explore. Fashion favors the bold; theology demands humility. Holding the two together, Fashion Theology trailblazes an interdisciplinary path informed by a thoughtful engagement with the Christian witness. For those traversing this spectacle of unexpected crossroads and hotly contested terrain, the promise of fashion theology awaits with its myriad unexplored vistas.

This article examines the relationship between costume and character, self and appearance in Luca Guadagnino’s film, I Am Love (Io Sono l'Amore, Guadagnino: 2009). As played by Tilda Swinton, Emma Recchi is a woman whose dress reveals a... more

This article examines the relationship between costume and character, self and appearance in Luca Guadagnino’s film, I Am Love (Io Sono l'Amore, Guadagnino: 2009). As played by Tilda Swinton, Emma Recchi is a woman whose dress reveals a meticulous record of her emotional journey, providing an almost text-book case of costume performing emotional exteriority. Complicating any straightforward analysis of costume design in I Am Love, however, is a deep fashion consciousness that pervades the film and goes beyond the widely publicized association with fashion houses, Jil Sander, Fendi and Hermès, to a recognition of fashion as a complex discourse able to canvas multiple, even contradictory, interpretations. Just as Guadagnino draws on other narratives and other films to tell his story, Swinton’s off-screen life and on-screen personae shadow her portrayal of Emma, constructing a character who is both the unique individual of ‘I Am Love’ and the hollow image of fashion that is the Emma of ‘I Am Style.’

In fashion world, fashion shows are the most significant part for fashion presentation, marketing and communication. In the last twenty years, fashion shows transformed themselves: They became a huge consumer market in a large hoop, which... more

In fashion world, fashion shows are the most significant
part for fashion presentation, marketing and communication. In the last twenty years, fashion shows transformed themselves: They became a huge consumer market in a large hoop, which includes press and public relations professionals. At this point, fashion shows had a special
role with their exclusive show pieces, which are not for production: they only function as image. This image is constructed by capital. Fashion shows gained a meaning with consumer culture. When people buy a product, they do not purchase only a product: They feel themselves as a part of the brand. In here designer’s name is sold through its image not only by it’s a product. Thus, people purchase their dreams and their fantasies, which are in their unreal world.

Sonia Delaunay’s simultaneous dress of 1913 incorporates a heterogenous variety of materials in its patchwork structure, which includes both fur and fabrics of different weights and colours. By focusing on the relationship between art,... more

Sonia Delaunay’s simultaneous dress of 1913 incorporates a heterogenous variety of materials in its patchwork structure, which includes both fur and fabrics of different weights and colours. By focusing on the relationship between art, fashion, and the tango, this article studies the dynamic between the tangibility and intangibility of Delaunay’s dress and proposes an interpretation related to the collage. The dress materialises the collage within the lexicon of fashion, while its texture incorporates fragments of movements, tango poses, and everything one could find drooped over the patronesses and patrons of the ballrooms of the age. This article transposes the concept of the collage from the surface of the dress to the space of the ballroom, and reflects on the new idea of intimacy and physical proximity encouraged by the fashion of the tango.

From Chinese Brand Culture to Global Brands uses a Chinese perspective to examine the capacity of Chinese brand culture to serve as a complement to existing models of brand globalization. Moving away from the trend to study the... more

From Chinese Brand Culture to Global Brands uses a Chinese
perspective to examine the capacity of Chinese brand culture to
serve as a complement to existing models of brand globalization.
Moving away from the trend to study the managerial aspects of
Western brand building in Chinese contexts, we examine how
Chinese branding efforts express significant aspects of their own
brand culture. Our selection of Jay Chou, the 2008 Beijing Olympics
Opening ceremony, and Shanghai Tang, an aspiring global fashion brand with aesthetic roots in Chinese historical culture, as illustrative cases, is fully consistent with this unwritten and unspoken consensus around exploiting Chinese cultural specificity towards the global development of Chinese brands. Although these three cases may seem “under the radar,” we believe that, together, they provide unique insights into the relation between brands and Chinese culture, and offer intriguing possibilities for thinking about global Chinese brands.

The paper looks at dandyism in Europe of the Nineteenth century and aims to offer a structural description of dandyism as a cultural semiotic system encompassing fashion, techniques of the body, emotional discipline and behavioral... more

The paper looks at dandyism in Europe of the Nineteenth century and aims to offer a structural description of dandyism as a cultural semiotic system encompassing fashion, techniques of the body, emotional discipline and behavioral strategies. Special attention is paid to the aesthetic principle of Minimalism, and to the further development of theory of dandyism in mid-nineteenth-century treatises. The paper is focused around structural correspondences between different aspects of dandyism from dress and canons of elegance, to code of conduct, speech patterns and personal hygiene.

Parametric Design is a computer based design approach that treats the geometric properties of the design as variables. The dimensions, angles and geometric properties (like curvature) remain malleable as the design progresses. Although at... more

Parametric Design is a computer based design approach that treats the geometric properties of the design as variables. The dimensions, angles and geometric properties (like curvature) remain malleable as the design progresses. Although at any time the 'parametric model' displays a determinate shape according to the set of currently chosen values, the essential identity of the parametric design resides in the malleable object's topology rather than its momentary determinate shape. This means that the design consists in the relationships that are maintained between the various elements of the composition. In fact the parametric design model is conceived as a network of relations or dependencies. This way of building up a design has the important advantage that the build-up of complexity and the detail resolution of the design can progress while simultaneously maintaining the malleability to adapt to changing requirements as new information is fed into the design process. The generation of alternative options remains viable and economical deep into the detail design without requiring abortive modeling and drafting work. This parametric malleability is advantageous both for the sake of continuous design adjustments as the design progresses, and for the sake of the generation of options and variations. The parametric model can be conceived as general building plan or genotype for the generation of many different versions or phenotypes that might co-exist (rather than substitute each other as options). Optioniering thus leads to versioning. Mechanical repetition is being replaced by mass customization.

The key message of this book is: clothing matters. And it is not just that clothing matters for people who enjoy fashion, but that across time, space and culture, for man, woman and child, clothing and appearance is a fundamental way in... more

The key message of this book is: clothing matters. And it is not just that clothing matters for people who enjoy fashion, but that across time, space and culture, for man, woman and child, clothing and appearance is a fundamental way in which we express our identities, are judged by others and communicate semiotically. Habits of Being II: Exchanging Clothes offers a compelling insight into the way in which clothing affects and is affected by identity and social structure, from Homer's ubiquitous renditions of male armour, to Kate Chopin's humble but erotically charged stocking.

Brasília -DF 2020 Rebeca Arruda Burjack Farias O papel das Revoluções Industriais e das inovações tecnológicas nas mudanças sociais e seus efeitos na indústria da moda Projeto Interdisciplinar IV apresentado como requisito parcial para a... more

Brasília -DF 2020 Rebeca Arruda Burjack Farias O papel das Revoluções Industriais e das inovações tecnológicas nas mudanças sociais e seus efeitos na indústria da moda Projeto Interdisciplinar IV apresentado como requisito parcial para a obtenção do título de tecnólogo em Design de Moda ao Centro Universitário Instituto de Educação Superior de Brasília. ORIENTADOR(a): Prof. Yuri Azeredo Brasília -DF 2020

This paper previews a new approach being developed for modeling the dynamic behavior of stretch clothes in apparel surfaces. This work extend the cloth-particle static draping model include dynamics, and extends constrained dynamics... more

This paper previews a new approach being developed for modeling the dynamic behavior of stretch clothes in apparel surfaces. This work extend the cloth-particle static draping model include dynamics, and extends constrained dynamics simulation techniques to yield performance enhancements. The advantages of this new approach, the new approach includes several steps. First step is set up the 3D garment of woven stretch cloth by using the method developed in this paper, Based on the relationship, the algorithms and generation of rules for transferring style requirements to the parameter values of the garment of woven stretch cloth are developed. As such, the knowledge base can be constructed, and the intelligent design system of the 3D garment style is built, Simulation remains a major challenge, even if applications are numerous, from rapid prototyping to e-commerce. A stable, real-time algorithm for animating stretch cloth apparel surfaces.

A collection of international contributions from renowned academics and practitioners from the UK, USA and China, the second edition of Fashion Marketing has been revised and expanded to incorporate the major changes in the fashion... more

A collection of international contributions from renowned academics and practitioners from the UK, USA and China, the second edition of Fashion Marketing has been revised and expanded to incorporate the major changes in the fashion industry since 2001. This ...

La moda siempre ha sido un signo, un sistema, un aspecto marginal de estudios y una forma sutil de esclavitud social. En suma, un vértice de encuentro entre disimiles expresiones y funciones dentro de las sociedades que nos interpela como... more

La moda siempre ha sido un signo, un sistema, un aspecto marginal de estudios y una forma sutil de esclavitud social. En suma, un vértice de encuentro entre disimiles expresiones y funciones dentro de las sociedades que nos interpela como materialidad para proporcionar un sentido de control del entorno social, a la vez, que es un mecanismo moderno y masivo de aumento de capital y una expresión estética del ingenio humano.

Rasyonaliteyi merkeze alarak kendisini inşa eden modernite; bireyci, seküler, materyalist, evrimci ve evrenselci özellikleriyle tüm dünyada etkili olmaya çalışan ve neredeyse dünyanın tamamına erişen bir zihniyet olgusudur. Yayılmacı... more

Rasyonaliteyi merkeze alarak kendisini inşa eden modernite; bireyci, seküler, materyalist, evrimci ve evrenselci özellikleriyle tüm dünyada etkili olmaya çalışan ve neredeyse dünyanın tamamına erişen bir zihniyet olgusudur. Yayılmacı politikalarını destekleyen aygıtlarının yardımıyla kendi sosyal kontrolünü oluşturan modernite, dönüştürmeye ve homojenleştirmeye çalıştığı toplumlar üzerinde kullandığı en etkili araçlarından birisi de tamamen moderniteyle birlikte anlamını bulan modadır. Moda yeryüzünde varoluşumuzdan bu yana evrenle, kendimizle ve başkalarıyla iletişimde kullandığımız bir araçtır. İnsanoğlu hayatını kendi bedeni üzerinden inşa eder. Benlik ve kimlik olgusunu kendi bedeni ve bedenini saran giysiler yoluyla gerçekleştirir. Bedenini değiştirme, koruma ve sunma, ruhsal ve toplumsal süreçler içerisinde gerçekleşir. Bu nedenle bedenimizi ve ruhumuzu saran giysiler, kişiliğimizi anlatmada, kendimizi olmak istediğimiz şekilde sunmada, ruhumuzu ve bedenimizi korumada önemli bir görev edinir.
SOCIAL CONTROL INSTRUMENT OF MODERNITY IS "FASHION"
ABSTRACT
Modernity, which constructs itself through centering on rationality is a mentality phenomenon that tries to be
effective all over the world and reaches almost the whole world due to its individualist, secular, materialist, evolutionist
and universalist features. Modernity which creates its own social control with the help of its instruments supporting its
expansionist policies, is fashion, which finds its meaning completely with modernity and which is one of the most
effective instruments uses on the societies and tries to transform and homogenize them. Modernity composes its own
social control with the help of its apparatuses supporting its expansionist policies. One of the most effective tools used
by modernity on societies which is tried to be transformed and homogenized is fashion finding its meaning totally with
modernity. Fashion is a tool that we have been using to communicate with the universe, ourselves and others since our
existence on earth. Human builds his life through his own body. Human realizes the phenomenon of self and identitythrough her/s own body and the clothes covering her/s body. Changing, protecting and presenting the body takes place
in spiritual and social processes. Therefore, the clothes covering our body and soul play an important role in expressing
our personality, presenting ourselves as we want to be, and protecting our soul and body.
Fashion emerges from the individual and social compositions of clothes. While fashion, which is an irrational
means of control directed to meet the spiritual and social needs of the individual, is being used as a way to impose the
dominant culture, hegemonic power, power and thought system on the individual by consent; continues to create new
identities through embracing all its symbolic meanings. The individual who tries to make himself included in a social
group is tested by fashion, which is the most visible form of social obedience. In this research that was performed based
on the literature, the position of fashion as a hidden ideological social control instrument used by modernity while
constructing itself has been discussed and tried to be determined. First of all, the relationship between modernity and
fashion has been examined through supporting with the opinions. Then, fashion was questioned within consumption and
its place as a consumption object was tried to be determined in society. The relationship between fashion, which is seen
as a social control instrument of modernity and power, and dominant power and modernism has been tried to be
revealed.
Key Words: Modernity, Fashion, Social Control.

Introducción "Sólo con gran dificultad puede (la mente humana) llegar a comprenderse a sí misma a través de la autorreflexión" Vico (citado en Finkelstein 1991:163) 2 5 Por razones de espacio y ángulo del estudio, en mi breve repaso... more

Introducción "Sólo con gran dificultad puede (la mente humana) llegar a comprenderse a sí misma a través de la autorreflexión" Vico (citado en Finkelstein 1991:163) 2 5 Por razones de espacio y ángulo del estudio, en mi breve repaso histórico no estudio a las modelos de artistas, ni tampoco me centro en la historia de los modelos masculinos. Para uno de los pocos estudios existentes sobre modelos masculinos véase Entwistle (2002). 6 Para una historia de los desfiles de moda, véase Evans (2001) y Galliera (2006).

Architectonic is a hybrid experiment which raises questions within the field of inter-disciplinary research. The study explores the opportunities that the dynamic between the cross-fertilization of architecture and fashion approaches may... more

Architectonic is a hybrid experiment which raises questions within the field of inter-disciplinary research. The study explores
the opportunities that the dynamic between the cross-fertilization of architecture and fashion approaches may offer. The research
is substantiated via the production of three-dimensional leather garments which initiate key synthesis of materials, techniques and
processes and interrogates fabric, form and function, to evaluate whether there is prospect for re-alignment, new methodologies
and practices within a fashion context?

Review of Fashion and Postcolonial Critique, Sternberg Press 2019.

Fashion and Feminism, Rosa Genoni, Italy, Fashion, politics and National Identity

Mode und Geschlecht sind innerhalb modischer Praktiken auf komplexe Art und Weise miteinander verbunden. In diesem Beitrag schlage ich vor, eine intersektionale und eine queertheoretische Perspektive in die Modeforschung zu integrieren,... more

Mode und Geschlecht sind innerhalb modischer Praktiken auf komplexe Art und Weise miteinander verbunden. In diesem Beitrag schlage ich vor, eine intersektionale und eine queertheoretische Perspektive in die Modeforschung zu integrieren, um der Ambivalenz und Hybridität modischer Praktiken methodisch zu begegnen. Dabei fasse ich zunächst Gender als interdependente Kategorie, die in sich bereits durch andere Kategorien konstruiert ist. Anhand zweier Beispiele, der modischen Stereotypisierungen dapper und DapperQ, skizziere ich beispielhaft, was eine solche Perspektive in der Modeforschung leisten kann. Dabei geht es exemplarisch darum, wie modische Gendernormen visuell und textuell konstruiert sind und wie sie, innerhalb queerer Praktiken, gestört bzw. dekonstruiert werden.

The COVID-19 pandemic has become a global concern since it has severely affected various aspects of life such as health, economy, society, culture, and religion. Community empowerment in breaking the chain of region-based COVID-19 spread... more

The COVID-19 pandemic has become a global concern since it has severely affected various aspects of life such as health, economy, society, culture, and religion. Community empowerment in breaking the chain of region-based COVID-19 spread is an effective approach that can be taken. This intervention is an important alternative measure to slow the morbidity and mortality of COVID-19 that continue to occur in Indonesia. This article aimed to describe the implementation of a community-based COVID-19 prevention program that was conducted among 280 families in six sub-districts in Brebes Regency from May to June 2020. The assessment used a questionnaire of COVID-19 transmission risk, with a total of 29 indicators developed based on references from the Indonesian Ministry of Health. The preliminary assessment of our program found several aspects that were related to the risk of COVID-19 transmission in the village and observed that there was insufficient public knowledge about COVID-19 including poor practice of health protocols and the negative stigma of society towards patients with COVID-19. The community-based program involved several activities, which namely consisted of program introduction, coordination with stakeholders, community assessments, group discussions, village community deliberations, health education about COVID-19 and 6 step hand washing, distribution of cloth masks, socialization of mask usage and care, socialization of pregnancy checks during the pandemic, provision of hand washing facilities in front of the house, activities evaluation, follow-up plans, and closings. Furthermore, the aforementioned activities also used videos, posters, leaflets, WhatsApp, as well as Zoom Cloud Meetings as the media. The evaluation phase of the program showed a better understanding related to COVID-19 and health protocol practice in each region. Community empowerment and collaboration with health care facilities can be pursued as a frontline solution to tackle the transmission of COVID-19. Good support and active community participation can contribute to improve the public health status.

Carved and painted onto wood, stone, bone, animal skins or metal, woven and knit into cloth, material culture from Northwest Coast Native peoples has historically been a one-of-a-kind iteration and a declaration of of familial rights and... more

Carved and painted onto wood, stone, bone, animal skins or metal, woven and knit into cloth, material culture from Northwest Coast Native peoples has historically been a one-of-a-kind iteration and a declaration of of familial rights and privileges. These items adorned public and private spaces, including the body, and were traditionally produced by hand. In recent years, some designs have been serialized and mass produced through new technologies like silk screen and digital printing, adorning everything from coffee mugs to t-shirts, sunglasses, jewelry and other garments (Roth 2012; Roth 2015). This chapter explores the history of Nuu-chah-nulth First Nations specifically and analyzes their distinctive aesthetics and design practice through the lens of fashion theory. The chapter concludes with a discussion of contemporary Nuu-chah-nulth designers and the circulation of their work. I ask: how does fashion operate within Nuu-chah-nulth social organization and how has ongoing colonialism and hybridization of prestige and capitalist economies transformed Nuu-chah-nulth fashion systems and design ideas? The findings discussed in this chapter draw from ongoing ethnographic research (beginning in October 2009) and archival- and museum-based research at both major and minor institutional repositories in the United States, Canada, Germany and England.

The topic of this paper is the research of processes of selective tradition on the example of the interpolation of elements of traditional wear into collections by contemporary Croatian fashion designers. The primary reason for choosing... more

O livro "Moda e ironia em Dom Casmurro" foi publicado em 2010, Editora Alameda, fruto de uma pesquisa desenvolvida nos anos de 2005 a 2007, como dissertação de mestrado da autora. "Moda e ironia em Dom Casmurro" foi a primeira obra... more

O livro "Moda e ironia em Dom Casmurro" foi publicado em 2010, Editora Alameda, fruto de uma pesquisa desenvolvida nos anos de 2005 a 2007, como dissertação de mestrado da autora.
"Moda e ironia em Dom Casmurro" foi a primeira obra brasileira a abordar a moda na literatura como estratégia de criação literária.
Tornou-se, desde então, uma referência para pesquisadores que pretendem empreender estudos sobre moda e literatura no Brasil, sendo a autora uma precursora na área.
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The book "Moda e ironia em Dom Casmurro" was published in 2010, Editora Alameda, the result of a research developed in the years 2005 to 2007, as a master's thesis of the author.
"Moda e ironia em Dom Casmurro" was the first Brazilian work to approach fashion in literature as a strategy of literary creation.
It has since become a reference for researchers who intend to undertake studies on fashion and literature in Brazil, and the author is a precursor in the field.

in Places and Spaces of Fashion 1800-2007, ed. John Potvin (Routledge, 2009)

A partir da conciliação de duas perspectivas antropológicas de análise dos objetos materiais-o sistema classificatório de bens e as abordagens da materialidade-propõe-se um caminho alternativo para o estudo da moda. O enquadre oferecido... more

A partir da conciliação de duas perspectivas antropológicas de análise dos objetos materiais-o sistema classificatório de bens e as abordagens da materialidade-propõe-se um caminho alternativo para o estudo da moda. O enquadre oferecido escapa aos tradicionais esquemas distintivos, desloca a análise da moda de um sistema de gosto mundial e afasta o seu estudo de uma apreciação do belo, seja esta guiada por modos ditos corretos de se autoapresentar ou por uma noção de belo universal. Por fim, mostra-se como o estudo da moda de vestuário coloca sempre em questão o corpo e a relação que a indumentária estabelece com o mesmo.
Palavras-chave: gosto, materialidade, agência, funk carioca

Análise sobre o papel fundamental do figurino para o longa Clueless (1995).

This article analyzes the sartorial biographies of four Canadian men to explore how the suit is understood and embodied in everyday life. Each of these men varied in their subject positions—body shape, ethnicity, age, and gender... more

This article analyzes the sartorial biographies of four Canadian men to explore how the suit is understood and embodied in everyday life. Each of these men varied in their subject positions—body shape, ethnicity, age, and gender identity—which allowed us to look at the influence of men's intersectional identities on their relationship with their suits. The men in our research all understood the suit according to its most common representation in popular culture: a symbol of hegemonic masculinity. While they wore the suit to embody hegemonic masculine configurations of practice—power, status, and rationality—most of these men were simultaneously marginalized by the gender hierarchy. We explain this disjuncture by using the concept of hybrid masculinity and illustrate that changes in the style of hege-monic masculinity leave its substance intact. Our findings expand thinking about hybrid masculinity by revealing the ways subordinated masculinities appropriate and reinforce hegemonic masculinity.

Introdução Existe uma diferença nos conceitos de público e privado do século passado e público e privado na nossa sociedade contemporânea. O cinema torna-se o espelho que reflecte melhor através das imagens, as mudanças de atitude da... more

Introdução Existe uma diferença nos conceitos de público e privado do século passado e público e privado na nossa sociedade contemporânea. O cinema torna-se o espelho que reflecte melhor através das imagens, as mudanças de atitude da sociedade. Este trabalho quer sublinhar as diferenças entre as duas épocas trazendo exemplos cinematográficos sobre como a representação do corpo no texto fílmico mudou e continua a mudar em relação ao binómio público/privado e no seu revestimento que é o vestuário. Os casos que se vão analisar estão estreitamente ligados com a relação entre os corpos filmados, o espaço real e o espaço fílmico: o vestuário, como casca do corpo, demarca limpidamente as duas diferenças ajudando o corpo a sentir-se mais confortável ao mudar de espaço. A corrente cinematográfica que vai ser analisada é a etno-ficção: deslize entre documentário e elementos de ficção onde o cinema português tem tido sempre uma posição interessante. O realizador Leitão de Barros explorou a fundo a instabilidade 1 ínsita nos elementos documentalistas e ficcionais começando por trabalhar a descoberta das comunidades de pescadores com o documentário Nazaré, praia de pescadores (1927), continuando com a etno-ficção Maria do Mar (1930) e acabando o ciclo com Ala Arriba! (1942): trilogia importante esta, que sublinha o início da nossa análise em que a câmara de filmar tem sempre uma relação dialéctica com os corpos que filma. Para começar, será fundamental expressar as ferramentas usadas para o desenvolvimento teórico deste artigo, sublinhando como o cruzamento entre a Fashion Theory e o género cinematográfico da

Pam Cook asserts, in her analysis of costume design, that “clothing marks the threshold between the body and the outside world, between private and public. Fashion… it is both self-expression and social pressure, compelling us to... more

Pam Cook asserts, in her analysis of costume design, that “clothing marks the threshold between the body and the outside world, between private and public. Fashion… it is both self-expression and social pressure, compelling us to conform.” The examples that the lecturer provided, which span the course of western history, illustrate the tension that fashion presents to individuals partaking in its use. Despite the technical mastery of Rembrandt, Memling, and Copley, fashion remains static through the medium of art and can only truly come to life through film. While these paintings, as they will examined further throughout this paper, attempt to tell stories about who these people were, they serve as snapshots of this tension between self-expression and social pressure.

Hollywood Costume designing and a brief study about costumes of movie "Marie Antoinette"

The figure of the 'woman-child' appears time and time again in the field of British fashion. Caught somewhere between the discursive domains of childhood and womanhood, the 'girl' has vast and malleable 'symbolic appeal' (Jobling 1999).... more

The figure of the 'woman-child' appears time and time again in the field of British fashion. Caught somewhere between the discursive domains of childhood and womanhood, the 'girl' has vast and malleable 'symbolic appeal' (Jobling 1999). She has been used at different historical moments to symbolise something beyond herself: modernity and progress; freedom and financial independence; pessimism and so-called heroin chic. But what does the 'woman-child' represent today, following three (or even four) waves of feminism? This question is unravelled here through discussion of Meadham Kirchhoff's Spring/Summer 2012 collection, A Wolf In Lamb's Clothing.

Physical discomfort can be highly personal, difficult to discern from the outside, challenging to effectively communicate. Yet communicating discomfort can be of great value. We present a method for developing wear-ables that transfer one... more

Physical discomfort can be highly personal, difficult to discern from the outside, challenging to effectively communicate. Yet communicating discomfort can be of great value. We present a method for developing wear-ables that transfer one person's discomfort to another: a modified fashion ideation process that enables a person to bring their hidden embodied experiences into wearable form. Using five complementary foci, the method seeks to simulate rather than replicate; to support people to find abstracted expressions for their lived experiences of discomfort, with which to negotiate shared understanding. The resulting wearables support empathic engagement with how another person might feel.