{"title":"Contemporizing Modesty","authors":"Romana B. Mirza","doi":"10.38055/fs010204","DOIUrl":"https://doi.org/10.38055/fs010204","url":null,"abstract":"Contemporary Muslim Fashions, September 22, 2018 – January 6, 2019 was organized by the Fine Arts Museums of San Francisco, shown in the de Young Museum and curated by Jill D’Alessandro and Laura Camerlengo, both curators at the museum, and consulting curator Reina Lewis, a scholar at the London College of Fashion, University of the Arts London. The aim was to represent contemporary Muslim fashions. To this end, they assembled and exhibited a collection of garments from the most popular fashion designers of the day, chosen from a series of shows at modest fashion weeks around the world. Supplemented by key pieces that have gained traction in the news such as the Burkini™ and Nike®’s sport hijab, this exhibit elevated perceptions and highlighted a global view by showing designs from around the globe, honouring the African-American, Muslim-American, Arab, and South East Asian cultures and aesthetics. Supporting the sartorial narrative was a display of visual and multimedia art from hip hop music videos, film, Instagram feeds, photography, magazine covers, and prints. The multimedia “exhibit within an exhibit” complemented the sartorial narrative by providing a contemporary context for the clothing. It reminded the observer that the exhibit was not merely about fashion history or the evolution of modesty in dress but about a contemporary moment. The relationship between fashion and the body was explored through designs that cover the body and intentionally hide the often objectified and sexualized female figure to reveal a contemporary approach to fashion that is empowering.","PeriodicalId":42103,"journal":{"name":"International Journal of Fashion Studies","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84387928","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":"Review: Diversity NOW! Fashion & Race with Kimberly Jenkins","authors":"Jaclyn Marcus","doi":"10.38055/fs010203","DOIUrl":"https://doi.org/10.38055/fs010203","url":null,"abstract":"The following article is a review of the 2018 Diversity Now! Lecture, entitled “Unleash the Power of Fashion to Challenge Racism,” led by Kimberly Jenkins and held by Ryerson University’s Centre for Fashion Diversity and Social Change. Jenkins is a lecturer at Parsons University, where she first created and continues to teach her undergraduate course “Fashion and Race,” is a Visiting Assistant Professor at Pratt Institute, and a curator, anthropologist, and art historian. Jenkins is also the creator of the online digital humanities project entitled The Fashion and Race Database as well as co-constructing and presenting a lecture and workshop series known as “Fashion and Justice,” among involvement in many other groups, activities, and media that help to further representation and diversity in fashion education, research, and the fashion industry. The review covers Part 1 and Part 2 of her lecture, “Fashion and Race” and a visual analysis exercise, “The Power of Representation.”","PeriodicalId":42103,"journal":{"name":"International Journal of Fashion Studies","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76593281","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":"Hyper-Consumerism and Abstract Landscape in Asia","authors":"Marie Geneviève Cyr, J. Jagoš","doi":"10.38055/fs020106","DOIUrl":"https://doi.org/10.38055/fs020106","url":null,"abstract":"This project examines the politics of abstract desire, hyper-consumerism, and the notion of fantasy in the Asian and Chinese fashion industries. The fascination for logos is often rooted in nostalgia and is an important part of the visual landscape in popular culture. However, China’s replicas have been labeled as “imitations” or “knock-offs” by Western society. This paper focuses on abstracting the notion of hyper-consumerism and interrogating the relationship between visual advertisement, its materiality, and its representation in the global marketplace. How does advertising contribute to the production of consumer goods? Can we create a cyclical vision for new materials? How is the value of luxury created, displaced, transformed, and consumed via physical space? This project confronts the relevance of luxury and its banalization by proposing new relationships to consumption and examines the visual language of logos and their representation in society.","PeriodicalId":42103,"journal":{"name":"International Journal of Fashion Studies","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75142606","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":"(Un)Dress in Southworth & Hawes’ Daguerreotype Portraits: Clytie, Proserpine, and Antebellum Boston Women","authors":"Margo Beggs","doi":"10.38055/fs020111","DOIUrl":"https://doi.org/10.38055/fs020111","url":null,"abstract":"Young America: The Daguerreotypes of Southworth & Hawes (2005) is a monumental exhibition catalogue showcasing the work of Albert Sands Southworth and Josiah Johnson Hawes. Together the partners established a renowned daguerreotype studio in mid-nineteenth-century Boston that catered to the city’s bourgeoisie. This paper seeks to unravel the mystery of dozens of daguerreotypes found in Young America, in which elite Boston women appear to be nearly nude. The unidentified women stand in stark contrast to the carefully concealed bodies of Southworth & Hawes’ other female subjects. Why would they expose themselves in such a manner before the camera’s lens? This paper attributes the women’s state of (un)dress to their deliberate emulation of two sculptures in the classical tradition: Clytie, a marble bust dating to antiquity, and Proserpine, a mid-nineteenth-century marble bust by American neoclassical sculptor Hiram Powers. This argument first reveals how a general “classical statue” aesthetic prevailed for women’s deportment in antebellum America, then demonstrates that the busts of Clytie and Proserpine had special significance as icons of white, elite female beauty in the period. Next, this paper makes the case that Southworth & Hawes devised a special style of photography deriving from their own daguerreotypes of the two statues, in which the women’s off-shoulder drapery was deliberately obscured allowing their female clientele to pose in the guise of these famous statues. The paper concludes by arguing that the women shown in these images could pose in this style without contravening societal norms, as these mythological figures were construed by women and men in the period to reflect the central precepts of the mid-nineteenth-century “Cult of True Womanhood.” Moreover, the busts offered sartorial models that reinforced standards of female dress as they related to class and privilege. By baring their flawless, white skin, however, the women positioned themselves at the crux of contentious beliefs about race in a deeply divided nation prior to the American Civil War.","PeriodicalId":42103,"journal":{"name":"International Journal of Fashion Studies","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83386476","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":"Alien Beauty: Posthuman Re-Imaginings","authors":"Presley Mills","doi":"10.38055/fs020105","DOIUrl":"https://doi.org/10.38055/fs020105","url":null,"abstract":"In the fall of 2018 WGSN (World Global Style Network) ran a report on the emerging “alien beauty” trend, which they defined as “an otherworldly aesthetic inspired by extraterrestrial life forms … signifying a new rebellious attitude towards quintessential beauty norms” (Bailey). Instagram is one of the largest platforms to represent the trend of alien beauty, presented by a thriving community of makeup artists pushing the boundaries of conventional beauty practices. These artists are developing otherworldly and exaggerated makeup looks created through the combination of makeup, fashion, technology, and social media. The following research attempts to outline elements of beauty that are engaged with through alien beauty, and through creative practice presents them on conventionally beautiful bodies to demonstrate new, challenging version of beauty. Alien beauty selfies shared via Instagram can be re-contextualized to challenge existing examples of art, nature, and beauty. Through practice-based methodology and theories of posthumanism, this piece explores the changing ideals of beauty manifested with the support of technology and social media as well as how the term “alien beauty” manifests as a current trend. Considering the re-imagined paintings created to explore alien beauty, they reveal how beauty has been traditionally constructed through a colonial, heteronormative, hegemonic gaze and how “alien” is therefore a form of escapism and rebellion.","PeriodicalId":42103,"journal":{"name":"International Journal of Fashion Studies","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79764773","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":"The Phantasmagoric World of Thierry Mugler","authors":"J. Skelly","doi":"10.38055/fs020108","DOIUrl":"https://doi.org/10.38055/fs020108","url":null,"abstract":"This review of Thierry Mugler: Couturissime approaches the exhibition through a feminist art-historical lens and attends to the various ways that both Mugler’s clothing and the Montreal Museum of Fine Arts’ curatorial team has framed and constructed the powerful, threatening woman as a complex figure who is hard, cold, sensual, strong, hard-working, and spectacular, among many other valences. The exhibition, which had its world premiere at the MMFA in March 2019, is organized as a fashion opera in six acts, and each room illuminates disparate yet interconnected parts of Mugler’s body of work: his costumes for a 1985 performance of Macbeth in Paris; the decadent and excessive clothing worn and worshipped by past and present celebrities; the black-and-white power dressing that Helmut Newton and others have canonized in fashion photography; the astounding creations inspired by insects and reptiles; and finally, the cyborgian fembots that have been presented in both Vogue and music videos. The inclusion of photographs and videos — not a new strategy in blockbuster fashion exhibitions — is essential to the success of Thierry Mugler: Couturissime, as they reveal that while these clothes are works of art, they were made to be worn and mobilized. Although not explicitly a feminist exhibition, for viewers who are looking for feminist, political inspiration wherever they can find it Mugler’s warrior women and formidable clothing — whether made of metal, latex or feathers — provide a powerful reminder that clothing is just one of the many weapons in our arsenal.","PeriodicalId":42103,"journal":{"name":"International Journal of Fashion Studies","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84224353","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":"Grief Becomes Her: Fashion Connections in Daemon & Saudade","authors":"Colleen Schindler-Lynch","doi":"10.38055/fs020201","DOIUrl":"https://doi.org/10.38055/fs020201","url":null,"abstract":"This essay will present a portion of a body of artwork entitled Daemon & Saudade that was exhibited at the Art Gallery of Northumberland in Cobourg, Ontario from November 15th, 2018, through January 13th, 2019. Photography, fashion, textiles, and jewellery were used in the creation of this interdisciplinary work to explore stories of grief, loss, and the careful crafting of identity. Images and wearable sculptures document time, emotion, and circumstance as they convey personal narratives derived from journaling and sketching. Acrylic and ceramic mourning jewellery show the physical embodiment and beautification of emotion through embellished personal tokens that forever link fashion and grief. The work in Daemon & Saudade demonstrates a role that fashion plays in articulating identity, allowing us to choose what we reveal or conceal and even to mask the experiences and emotions of our daily lives to those closest to us. Collectively, it captures and preserves the marks left on us by the experiences we live. Whether it is the loss of a loved one or a relationship, grief is a condition, a state, an emotion, and a process we all share.","PeriodicalId":42103,"journal":{"name":"International Journal of Fashion Studies","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82016993","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":"Evolution versus entrenchment: Debating the impact of digitization, democratization and diffusion in the global fashion industry","authors":"T. Brydges, Brian J. Hracs, M. Lavanga","doi":"10.1386/INFS.5.2.365_7","DOIUrl":"https://doi.org/10.1386/INFS.5.2.365_7","url":null,"abstract":"In the report The State of Fashion 2017, written by Business of Fashion and the McKinsey Institute (2016), industry executives used three words to describe the current state of the fashion industry: uncertain, changing and challenging. Indeed, the fashion industry is undergoing dramatic transformations, from digitization and the rise of ‘see now, buy now’ fashions, to brands redefining the function and timing of fashion weeks, and increasing levels of global integration and competition (Crewe 2017). As such, the fashion industry has been recognized as a valuable lens through which to explore significant and ongoing changes to the production, curation and consumption of goods, services, and experiences (Brydges et al. 2014; Brydges 2017; D’Ovidio 2015; Hracs et al. 2013; Lavanga 2018; McRobbie 2016; Pratt et al. 2012). \u0000 \u0000Drawing inspiration from this stream of scholarship, we organized four sessions titled Trending Now: The Changing Geographies of Fashion in the Digital Age at the Royal Geographical Society and Institute of British Geographers (RGS-IBG) conference in London, 30 August – 1 September 2017. In these sessions, researchers and practitioners from a wide range of locations and disciplines – including fashion studies, media studies, cultural economics, business and geography – came together to share research related to the structures, labour dynamics, spaces, value propositions and practices of the contemporary fashion industry. \u0000 \u0000While a range of issues were discussed, the sessions were connected by an overarching theme. Namely, the extent to which power in the fashion industry is expanding or consolidating. While there is a prominent discourse that states that structures, systems and spaces within the global fashion industry have been (and will continue to be) disrupted by new actors, technologies, practices and cities, we collectively questioned whether the fashion industry has really entered an era of democratization, or if established power structures remain entrenched. Through empirical case studies from a variety of geographic contexts – from India to Italy – about different actors and activities within the industry, each presentation contributed new evidence and perspectives to this debate. The discussion below distils some of the key themes that emerged.","PeriodicalId":42103,"journal":{"name":"International Journal of Fashion Studies","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48018569","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":"Introduction: Continuing the dialogue on South Asian fashion studies","authors":"Lipi Begum","doi":"10.1386/INFS.5.2.383_7","DOIUrl":"https://doi.org/10.1386/INFS.5.2.383_7","url":null,"abstract":"","PeriodicalId":42103,"journal":{"name":"International Journal of Fashion Studies","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41439182","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":"Sartorially weaving their way through bhodrota (respectability): Georgette sarees, bangles and selling sex in a Kolkata neighbourhood","authors":"Mirna Guha","doi":"10.1386/INFS.5.2.399_7","DOIUrl":"https://doi.org/10.1386/INFS.5.2.399_7","url":null,"abstract":"","PeriodicalId":42103,"journal":{"name":"International Journal of Fashion Studies","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1386/INFS.5.2.399_7","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48955449","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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