Clothing Cultures最新文献

{"title":"Editorial foreword FCVC Network Special Issue","authors":"S. Gilligan","doi":"10.1386/cc_00001_2","DOIUrl":"https://doi.org/10.1386/cc_00001_2","url":null,"abstract":"","PeriodicalId":53824,"journal":{"name":"Clothing Cultures","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48473123","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 Diet Prada effect: ‘Call-out culture’ in the contemporary fashionscape","authors":"Vanessa Gerrie","doi":"10.1386/cc_00006_1","DOIUrl":"https://doi.org/10.1386/cc_00006_1","url":null,"abstract":"Fashion criticism has found a new democratic platform in this technetronic age that has been impacted by the emergence of online ‘call-out culture’, a cultural phenomenon born of this digital age. Independent voices are finding traction within the famously hermetic fashion industry who are holding fashion designers, marketers, editors and all those gatekeepers in between, accountable not only for copycat fashion products but also for racist and bigoted appropriations that appear in campaigns and editorials. In examining ‘call-out culture’ in the fashion industry this article will extrapolate on how and why these cultural phenomena have gained traction in relation to the contemporary fashion industry and what this means for the future of the industry. I do so through the wider contextualization of looking at ideas of authenticity and transparency, effects of social media, and the role of cultural criticism in fashion. The methodology utilized in this article is in the form of the close analysis of two case studies, the independent fashion critic sites Diet Prada and The Fashion Law, which have both gained traction in the past two years for their unbiased and unrelenting agenda to call out fashion’s indiscretions.","PeriodicalId":53824,"journal":{"name":"Clothing Cultures","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1386/cc_00006_1","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43991711","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":"An experiential investigation into the embroidery practices of the Chernobyl Babushka","authors":"C. Baker","doi":"10.1386/cc_00002_1","DOIUrl":"https://doi.org/10.1386/cc_00002_1","url":null,"abstract":"This article contextualizes and personalizes a cohesive and cogent line of enquiry into the textile practices of the Babushkas of Chernobyl through empirical research centred upon observing, recording and gathering testimonies and histories in the field. Chernobyl, as place (or rather non-place), is the site of the world’s worst nuclear accident of 1986. Post-accident, 91,200 people were evacuated from areas around Chernobyl and it is now deemed to be uninhabitable. At the time of this research, there were 128 people remaining, their legacy the declining remains of a forgotten community, with a loss of their strong textile heritage. The ‘Embroidery as a Language’ project was implemented in order to discover how a common interest, i.e. embroidery, within the context of action research methodology could be used to encourage stronger connections and understandings between transnational communities and as a consequence promote the sharing of relevant and new information about regional embroidery, in turn preserving the past and taking it forward into the future. Alongside building an archive, the preservation of their history through personal experiences and narratives is paramount and this article reflects the focus on the self-settlers of Chernobyl and their embroideries as an ongoing initiative and an experiential poignant investigation that has developed over the past four years and during my ten separate visits to the Chernobyl Exclusion Zone.","PeriodicalId":53824,"journal":{"name":"Clothing Cultures","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42931755","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":"It’s hard to do fashion in Istanbul – or is it?","authors":"Nilay Ulusoy","doi":"10.1386/cc_00004_1","DOIUrl":"https://doi.org/10.1386/cc_00004_1","url":null,"abstract":"All major cities have a unique ‘atmosphere’ that influences inhabitants and visitors, and that shapes ideas and objects related to it. The identity of a city is a social construct, and this symbolic, imaginary construct is associated with a specific local production system. With its heritage combining Roman, Byzantine and Ottoman elements and its contemporary urban life, Istanbul is recognized as one of the world’s cultural capitals. Turkey, on the other hand, is one of the world’s leading textile-manufacturing countries, with the majority of products made in and around Istanbul. This is noteworthy at a time when the consumer fashion industry simultaneously is drawing on discourses of exoticism, the primitive, orientalism and authenticity, one factor underlying the breakdown of the monopoly of Milan, Paris, New York and London on fashion. Drawing on primary research undertaken through semi-structured interviews with designers, social media specialists and textile engineers in Turkey, this article provides an overview of the contemporary Turkish fashion industry with a focus on neo-Ottoman style. The article begins by evaluating Istanbul’s contemporary fashion industry and continues with how fashion produced in Istanbul affects Istanbul’s image worldwide, and finally explains how Istanbul reciprocally affects the designs created in this city.","PeriodicalId":53824,"journal":{"name":"Clothing Cultures","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49126406","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":"fake_fashion_agency: Aesthetical making and vestimentary tactics between geniuses, creativity and Shanzhai","authors":"Dagmar Venohr","doi":"10.1386/cc_00005_1","DOIUrl":"https://doi.org/10.1386/cc_00005_1","url":null,"abstract":"In order to create a forgery, one has to know and understand the object in question. Iconic stylistic details become replicated – with a view of passing, of convincing others that it is the real thing. In fashion, only through revealing a nuance of a logo, the fabric, or stitching does it become clear that a forgery is taking place. A moment of slippage is required to expose the joke of the trickster, the player and the impostor. In turn, the certain identity, the specific understanding of originality is stolen. This article will discuss a fake fashion phenomenon that clearly exhibits strategies and disguised tactics. Does faking enable people to create their own relationship to things and to others, and how this could be seen as an ability of self-empowering acting? Based on the fashion-theoretical concept of fashion-agency as a self-empowering understanding enabled through, a capture of, and an acting with fashion, case studies from the globally effective fashion system and reference to the Chinese concept of Shanzhai will set the area for further study. With reference to the seizure of fake sneakers by German customs officers, Diesel’s ‘Deisel’ pop-up store, Super Deluxe and Adidas, these recent case study examples will be cultural-critical introduced as well as an aesthetical and vestimentary practice of productive counterfeiting tactics will be considered. These first cultural-scientific explorations of the phenomenon, which marks the beginning of a research project on fake fashion, was flanked by a DIY fake workshop for children aged 8–11, which was held in May 2018 in Hamburg, Germany. Its short depiction will demonstrate how enlightened it is to engage people, especially children, with creating clothes on their own, and how stimulating the thereby raised questions can be for further research. Of course, it has always been possible to sew on three stripes on an object itself in order to imitate Adidas; but when the fake that is so good to be seemingly original is becoming increasingly ubiquitous and acceptable, it diminishes the desirability and prestige of the authentic in the global mountain village. And this could be a chance for real clothes instead of appearances of fashion.","PeriodicalId":53824,"journal":{"name":"Clothing Cultures","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42302566","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":"‘Getting Naked with Gok Wan’: A psychoanalytic reading of How To Look Good Naked’s transformational narratives","authors":"Theodora Thomadaki","doi":"10.1386/cc_00007_1","DOIUrl":"https://doi.org/10.1386/cc_00007_1","url":null,"abstract":"Gok Wan’s television fashion series How To Look Good Naked (Channel 4, 2006–10) has vividly revolutionized the self-improvement genre. By developing a playful, caring and female-friendly makeover platform that values the articulation of emotional experiences in relation to the body, the series facilitates the exploration of the inner layers of subjectivity through the psychological exercises and self-reflective practices that Gok Wan sets out for his subjects. Playful mechanisms of creativity are central to his makeover practice, integrating fashion techniques and stylistic practices to encourage his female participants to reflect upon and make sense of their emotionally troubled experiences in relation to the body. Makeover props belonging to his female subjects play a fundamental role in activating a process of self-reflection and exploration of the self through relatedness. Through the close textual analysis of How To Look Good Naked (Series 2 Episode 6), this article applies Donald Woods Winnicott’s psychoanalytic ideas (1957, 1963, 1960, 1971), to argue that the creative dimensions of Gok Wan’s makeover technique reveal an object relating psychoanalytic process that entails a form of therapeutic playing; one that allows his female participants to restore aspects of self in relation to the body and to gain an emotional awareness of these experiences that leads eventually to self-discovery and self-acceptance. Ultimately, this reading of Gok Wan’s method confirms the emotional and cultural value of makeover narratives to generate rich opportunities that enrich notions of inner-self experience.","PeriodicalId":53824,"journal":{"name":"Clothing Cultures","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48708896","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":"Dress to oppress: Performing blasphemy on the red carpet","authors":"A. Kleiman","doi":"10.1386/cc_00003_1","DOIUrl":"https://doi.org/10.1386/cc_00003_1","url":null,"abstract":"This article will examine the ‘Jerusalem dress’ scandal, provoked by the dress worn by Miri Regev, the Israeli Minister of Culture and Sports, to the Cannes Film Festival Red Carpet event in 2017. Focusing on the intersection between contemporary fashion, celebrity culture, gender and politics, I will analyse the ways in which the dress can be read as blasphemous and thus lead to a cultural scandal of such dimensions. I will point to social and religious values that were undermined, considering Regev’s political character, and to the effect of using a dress to make political statements on the international red carpet in this context. I will then draw conclusions regarding the impact of using a dress as a political statement in this particular Hollywood-style setting, as well as of its perception and unfolding in the digital media.","PeriodicalId":53824,"journal":{"name":"Clothing Cultures","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45259940","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":"A sense of forgetting and remembering: Memories of smell and clothing","authors":"Julie Macindoe","doi":"10.1386/CC.5.3.377_1","DOIUrl":"https://doi.org/10.1386/CC.5.3.377_1","url":null,"abstract":"This article gives focus to the residue of smell in the everyday, dressed experience. Through collected narratives and memories, the research uncovers some of the personal and shared practices in negotiating smell and clothing: The smell of a father’s jacket acts as a reconciliation, and in its transferral of ownership, constructs an identity. A jumper, sprayed with the promise and artifice of fragrance, forms an aroma of deception to negate a visual appearance. And a traveller’s wardrobe reminds that smelly clothing is not a socially neutral experience but a negotiation of our sense of self. Embedding smell in the material context of clothing brings smell beyond the fleshy surface to the dressed body, provoking decisions to forget or remember the body that once inhabited its materiality.","PeriodicalId":53824,"journal":{"name":"Clothing Cultures","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2018-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1386/CC.5.3.377_1","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43970728","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 suit maketh the man: Masculinity and social class inKingsman: The Secret Service(Vaughn, 2014)","authors":"Ashley Morgan","doi":"10.1386/CC.5.3.359_1","DOIUrl":"https://doi.org/10.1386/CC.5.3.359_1","url":null,"abstract":"This article outlines the ways in which suits are synonymous with masculinity examining the, sometimes paradoxical, nature of suits worn by men of all social classes, and for different reasons. For example, hegemonic men wear suits in a bid to convey power, arguably, by rendering the wearers uniform in appearance so that the focus is on what hegemonic men might say and do, rather than how they might look. Moreover, the uniformity of suits is a means by which men of a lower social class demonstrate aspiration to a higher social class and might affect hegemonic power through wearing them. While much has been written about masculinity and suits, with many authors agreeing that the bespoke suit is at the pinnacle of the hierarchy of men’s clothing, yet there is a little attention paid to the way in which the bespoke suit is represented in media or popular culture. This article examines the role of clothing of the main characters in the filmKingsman: The Secret Service(2014) with a particular focus on the contribution that the bespoke suit makes to the masculinity of the bodies of the individuals within the film. Principally, the bespoke suit elevates the body of the wearer from quotidian to tailored, the fitting of which allows for better representation of a man’s body. It will explore representation of middle-class masculinity, hegemony and embodiment in the film, addressing the idea of whether wearing a bespoke suit can help a man transcend the boundaries of ‘chav’ masculinity, which is depicted as male subordination, and rise into middle-class hegemonic masculinity through the character of Gary ‘Eggsy’ Unwin (Taron Egerton).","PeriodicalId":53824,"journal":{"name":"Clothing Cultures","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2018-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42835780","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":"Intersectional dress","authors":"A. Franklin","doi":"10.1386/CC.5.3.311_2","DOIUrl":"https://doi.org/10.1386/CC.5.3.311_2","url":null,"abstract":"The study of dress and adornment practices is perforce the study of the materialisation of intersecting identities. Class, gender, sexuality, age, race, dis/ability and other identity markers are all writ large on an individual’s clothed body and Crenshaw’s (1991: 1296) suggestion in her influential Stanford Law Review article, ‘Mapping the margins: intersectionality, identity politics, and violence against women of color’, ‘that intersectionality might be […] broadly useful as a way of mediating the tension between assertions of multiple identity and the ongoing necessity of group politics’ sits at the heart of this issue of Clothing Cultures. Both explicitly and implicitly, the papers herein respond to Crenshaw’s behest that intersectionality ‘be expanded by factoring in issues such as class, sexual orientation, age, and color’ (1991: 1245). They reveal and explore the power of such socially constructed identity categories and in doing so corroborate her belief that categories do indeed ‘have meaning and consequences’ but that the ‘most pressing problem, in many if not most cases, is not the existence of the categories, but rather the particular values attached to them, and the way those values foster and create social hierarchies’ (1991: 1297).","PeriodicalId":53824,"journal":{"name":"Clothing Cultures","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2018-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49035977","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}