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This article deals with art, fashion design, and cultural practice as both critique and creativity. It analyses artworks by William Kentridge, Sue Austin, and Lina Iris Viktor, as well as the fashion of Viktor & Rolf, reading these different works as modes of resistance and revolt against current forms and relations of power and knowledge. The authors place emphasis on new materialism and posthuman theory as theoretical frameworks that expand the range of cultural critique. They add a thematic focus on the actual bodies, the materials of cultural action, and the role of non-human elements in the making of artworks. With reference to feminist, decolonial and indigenous theories, the article analyses the workings of counter-cultural memories in contemporary art and fashion design practices.

The field of fashion is now a major topic of enquiry in social and cultural theory. However, students often find it difficult to apply key social and cultural theoretical frameworks and concepts to their study of fashion. This book is designed to fill this gap for a how to think through fashion. Each chapter is a guide through the work of a selected major thinker, such as Marx, Freud, Simmel, Benjamin, Bakhtin, Barthes, Goffman, Deleuze, Foucault, Baudrillard and Butler, introducing key concepts and ideas, discussing how they have been appropriated by various authors to engage with the topics of fashion, dress and appearance, and looking at other ways in which they can be taken over to reflect on these topics.

Memory matters. It matters because memory brings the past into the present, and opens it up to the future. But it also matters literally, because memory is mediated materially. Materiality is the stuff of memory. Meaningful objects that we love (or hate) function not only as aide-mémoire but are integral to memory. Drawing on previous scholarship on the interrelation of memory and materiality, this book applies recent theories of new materialism to explore the material dimension of memory in art and popular culture. The book's underlying premise is twofold: on the one hand, memory is performed, mediated, and stored through the material world that surrounds us; on the other hand, inanimate objects and things also have agency on their own, which affects practices of memory, as well as forgetting. Chapter 1 of this book is freely available as a downloadable Open Access PDF under a Creative Commons Attribution-Non Commercial-No Derivatives 3.0 license. https://s3-us-west-2.amazonaws.com/tandfbis/rt-files/docs/Open+Access+Chapters/9781138203235_oachapter1.pdf Chapter 4 of this book is freely available as a downloadable Open Access PDF under a Creative Commons Attribution-Non Commercial-No Derivatives 3.0 license. https://s3-us-west-2.amazonaws.com/tandfbis/rt-files/docs/Open+Access+Chapters/9781138203235_oachapter4.pdf Chapter 5 of this book is freely available as a downloadable Open Access PDF under a Creative Commons Attribution-Non Commercial-No Derivatives 3.0 license. https://s3-us-west-2.amazonaws.com/tandfbis/rt-files/docs/Open+Access+Chapters/9781138203235_oachapter5.pdf

This article analyses the complex relationship between the construction of gender identities among young Chinese females and the practice of dressing up in Hanfu attire. The study employs the perspectives of dress as a situated embodied practice, the performativity of gender and the catwalk as a form of performance art. By drawing on an ethnography of self-defined Hanfu fans in Beijing, China, the authors investigate how the female participants construct femininities through performing on Hanfu catwalks. The ethnographic findings are that, first, the Hanfu catwalk mediates the intricate interplay of Chinese aesthetic norms and gender expression between performers and the audience. Second, wearing Hanfu is an embodied practice unifying the Hanfu costume style, gender construction and corporeal acts, situated in China's sociopolitical context. Third, Chinese femininity is complex, with both flexibility and internal conflicts, reflecting China's paradoxical modernization.

Memory matters. It matters because memory brings the past into the present, and opens it up to the future. But it also matters literally, because memory is mediated materially. Materiality is the stuff of memory. Meaningful objects that we love (or hate) function not only as aide-mémoire but are integral to memory. Drawing on previous scholarship on the interrelation of memory and materiality, this book applies recent theories of new materialism to explore the material dimension of memory in art and popular culture. The book's underlying premise is twofold: on the one hand, memory is performed, mediated, and stored through the material world that surrounds us; on the other hand, inanimate objects and things also have agency on their own, which affects practices of memory, as well as forgetting. Chapter 1 of this book is freely available as a downloadable Open Access PDF under a Creative Commons Attribution-Non Commercial-No Derivatives 3.0 license. https://s3-us-west-2.amazonaws.com/tandfbis/rt-files/docs/Open+Access+Chapters/9781138203235_oachapter1.pdf Chapter 4 of this book is freely available as a downloadable Open Access PDF under a Creative Commons Attribution-Non Commercial-No Derivatives 3.0 license. https://s3-us-west-2.amazonaws.com/tandfbis/rt-files/docs/Open+Access+Chapters/9781138203235_oachapter4.pdf Chapter 5 of this book is freely available as a downloadable Open Access PDF under a Creative Commons Attribution-Non Commercial-No Derivatives 3.0 license. https://s3-us-west-2.amazonaws.com/tandfbis/rt-files/docs/Open+Access+Chapters/9781138203235_oachapter5.pdf