Este escrito considera el papel de los artefactos en el estudio histórico de la vestimenta y la moda y sugiere la existencia de tres enfoques diferentes: primero, el campo de la historia de la vestimenta y el traje tiene una larga tradición que se remonta al siglo XIX. Adopta las metodologías de la historia del arte y considera los artefactos como un elemento central del análisis de diferentes períodos y temas. En segundo lugar, en la generación pasada, algunos interpretaron el surgimiento de los estudios de moda como un distanciamiento de los artefactos. Sin embargo, los estudios de moda aportaron rigor teórico y adoptaron una metodología de análisis deductiva en la que los artefactos desempeñan una función importante. Finalmente, propongo lo que llamó la: cultura material de la moda, una metodología híbrida tomada de la antropología y la arqueología en la que el objeto es central para el estudio de las prácticas sociales, culturales y económicas específicas del tiempo. El artículo concluye con una reflexión sobre los desafíos y recompensas de tal enfoque.
Abstract Animal skins and furs are some of the earliest clothing items worn by humankind and the practicality of their toughness and warmth is one of the reasons why they are still worn today. Beyond its practical use, fur acquired the added appeal of decoration and luxury throughout fashion history, and its wearers, criticism via accusations of ostentation. With the rise in the late nineteenth century of a middle class with economic means, greater demand for luxury fashions such as fur ensued. To meet market and fashion trend demands, overharvesting of fur species led to rapid declines in animal populations. This in turn resulted in industry regulations protecting endangered species and domestic farming of fur animals. Aggressive activities of animal rights organizations in the late twentieth century resulted in devastating consequences for indigenous economies dependant on fur hunting. These peoples in turn organized to counter misinformation and promote fur as the ultimate natural fibre contrasted to fake furs that are petroleum by-products with their own harmful environmental harvesting issues.
Launched at the Photo Club de Paris in 1907, the Autochrome process invented by the Lumière brothers was the only photographic medium that reproduced colours truthfully until the late 1920s: once exposed the glass plate positives could not be retouched or manipulated in any way. Compared to hand-coloured film, photographs or crude lithography in print media, the authentic representation of the colour of clothes in autochromes comes as a revelation, as does the beauty of the images themselves. Hitherto seldom referenced by dress historians, autochromes have been neglected by scholars and curators because of the difficulties of storage, handling and reproduction, yet from their invention until the introduction of colour film c1930, they were widely used by amateurs and commercial photographers, therefore they are invaluable for the authentication of colour in dress during this period. Of an estimated 20 million plates manufactured by the Lumières, approximately 4 million are thought to have survived. This paper explored the potential of the autochrome as a source of visual evidence for dress historians during World War 1, by exploring the Archives de la Planète, created by French millionaire industrialist, Albert Kahn (1860-1940), whose pacifist beliefs lead him to equip a team of photographers, both professional and untrained, with this latest technology. Kahn's autochromistes were commissioned to record the daily lives of the people they encountered in fifty countries across the world, particularly those whose cultures he anticipated would soon be under threat from the consequences of political and social turmoil in the early twentieth century. The Archives de la Planète, now comprising 72,000 autochromes, 4,000 black and white photographs and 120 hours of moving film footage is housed in the Musée Albert Kahn, his former home just outside Paris. Digitization of the collection is ongoing today. The Kahn autochromes show the dress of many people and cultures across the world from the West of Ireland to China and Japan in the years immediately before the outbreak of the War. His photographers also recorded the French troops during the conflict and the daily lives of local working people as well as celebrations such as victory parade in London in 1919. Folk dress, army uniform and working dress are well-represented, in addition to some images of fashionable dress worn by visitors to Kahn's villa in the south of France and to his Paris mansion. Autochromes from other collections, such as those taken by Lionel de Rothschild and those in the National Media Museum, London and Bradford may also be referenced.
This paper aims to explore the relationship between migration and refugee movements and the production and consumption of fashion, with the emphasis on the plight of Syrian refugee workers in Turkish garment factories. A recent report published by the Business & Human Rights Resource Centre indicates that 'exploitation of refugees in the supply chains that produce clothes for Europe's high streets appears endemic' and 'the plight of Syrian refugees in Turkey has unfortunately exposed the most damaging market forces at work in the global garment industry: vulnerable refugees fall victim to the drive for lower prices and increased margins'. A theoretical background to the fieldwork I will conduct in Istanbul, this paper will discuss a) how neo-liberal discourses of charity, compassion and employability simultaneously obscure and reinforce the increasing degradation of work as well as the physical and discursive violence endured by refugee workers, and b) how the forced migration/displacement and the rapid and enforced acquisition of skills necessary to produce apparel transform the worker's personal experience, perception and memory of the fashion commodity as well as its production and consumption. Drawing on theories of work, poverty, leisure, memory and affect, I also aim to understand the survival and resistance strategies and tactics used by refugee workers inside and outside the work place. In this way, this paper is intended to contribute to a framework for addressing fashion production/consumption, migration/refugee movements and the subjectivity of the worker as interconnected phenomena. Delice contributed this invited paper to the "Fashion & Politics: Historical & Contemporary Perspectives" conference organised by the the LCF Transnational Fashion Research Hub on 7 July 2017.
Founder of the Centre for Sustainable Fashion Dilys Williams speaks truth to power and provokes young designers' action. In this interview Dilys discusses the Kering and Habit(AT) projects, and talks about the importance of understanding that everything is political as far as it affects our lives as social beings.
"Fashion Writing and Criticism provides students with the tools to critique fashion with skill and style. Explaining the history and theory of criticism, this innovative text demonstrates how the tradition of criticism has developed and how this knowledge can be applied to fashion, enabling students to acquire the methods and proper vocabulary to be active critics themselves. Integrating history and theory, this innovative book explains the development of fashion writing, the theoretical basis on which it sits, and how it might be improved and applied. Through concise snapshot case studies, top international scholars McNeil and Miller analyse fashion excerpts in relation to philosophical ideas and situate them within historical contexts. Case studies include classic examples of fashion writing, such as Diana Vreeland at Harper's Bazaar and Richard Martin on Karl Lagerfeld, as well as contemporary examples such as Suzy Menkes and the blogger Tavi.Accessibly written, Fashion Writing and Criticism enables readers to understand, assess and make value judgments about the fascinating and changeable field of fashion. It is an invaluable text for students and researchers alike, studying fashion, journalism, history and media studies"--
Linking veils to fashion (and Islam to modernity), this article analyzes the presence of veiled assistants in London fashion shops as examples of spatial relations that are socializing and ethnicizing. In the anxious days after the 2005 bombs, the veiled body working in West End fashion retail moved through the postcolonial city in a series of fluid dress acts whose meanings were only partially legible to her different audiences. Connecting recent international Muslim lifestyle consumer cultures to gendered consumption in the development of Middle Eastern modernities, this article evaluates new British legislation protecting expressions of faith at work in relation to the role of veiled shop girls in postcolonial shopping geographies.
Intro -- Preface -- Contents -- List of Tables -- Chapter 1 The Cultural Significance of How We Dress -- 1 The Social Function of Clothes and Classes -- 2 Masculine or Feminine? -- 3 Age Classes and Rites of Passage -- 4 Horizontal Segmentations: Professions and Culture -- Chapter 2 The Fashion of the New Italy (1945-1965) -- 1 Reconstruction and the Economic Miracle -- 2 Material Culture: The Role of Textiles -- 3 The Garment Industry and Sales at the Beginning of Mass Production -- 4 Rome and Florence, the First Axis of Italian High Fashion -- Chapter 3 Flashback: Fashion and the Black Shirts (1920-1945) -- 1 Autarchic Clothes -- 2 Clothes and the Ecosystem -- 3 The Revolution in Chemistry -- 4 Hands and Machines: Tailors, Dressmakers and Equipment -- 5 Women's Bodies -- Chapter 4 Revolutionary Fashion (1965-1975) -- 1 New Styles, New Roles: The Influence of London -- 2 The American Look -- 3 A World of Colours -- 4 Clothes and Political Battles -- 5 The Frontiers of Production: Jeans and Knitwear -- Chapter 5 The Democratization of Luxury (1975-1995) -- 1 The Five Jokers of Italy's Fashion System -- 2 A New Epicentre: The Market and the Consumers -- 3 The Dynamism of the Industrial Sector -- 4 The Fashion Designers, the New Stars -- 4.1 The Innovators of the 1970s -- 4.2 Historic Brands -- 4.3 Women -- 4.4 Towards and Beyond the Crisis (the 1990s) -- 5 "Post-production" and the World of the Media -- 6 The Institutions and the Role of Milan -- Chapter 6 The Challenges of the Twenty-First Century (1995-Today) -- 1 Globalization -- 2 Outsourcing and Financialization -- 3 From Distribution to Fast Fashion -- 4 Fashion on the Internet -- 5 Towards the Future: The Techno-Eco Fashion -- Appendix -- Index.
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Introduction: The Centre for Sustainable Fashion (CSF) is a group of researchers, designers and communicators, brought together through shared ambitions around the possibility of fashion: a means to connect us to each other and with nature, and a means to make real our adaptability to time and place. It seeks ways for osmosis between human, ecological and technological elements to create a mixture that makes for better balance and a life well lived, as applied through fashion's personal and collective practices. The centre's work is situated in the cross referencing of research projects (often working with others outside of fashion), the development of innovative commercial practices (with large and small businesses), and the teaching and learning of design for sustainability (with undergraduate, postgraduate and PhD students). We seek ways and places to connect and be adaptable as individuals, evolving a unique sense of who we are in the world, as communities, whether location or interest based, and in our governance and political identities and actions. For this reason, we find ourselves sometimes in the House of Lords, at other times in remote villages, and always looking for space to be reflexive in our work. Sustainability can be distinguished by its multidimensional, non-conformist, not readily acceptable range of change processes and practices. It can lead us to consider fundamental qualities and characteristics of life and challenge our current habits and practices in their respect. It can question us as individuals, communities, and organisations, and can seek in us the qualities of imagination, interaction and sensitivity, along with practical skills of creation and communication. Sustainability is about who we are and what we do and make. This framing means a radical shift in how we experience life, quite different from many of the more easily palatable forms of sustainability within current practices, where efficiencies in existing systems form the visible changes that take place. Designers are well placed to explore these questions and habits, especially when placed in the cross-frame of research, education and current practice. What might be deemed risk in one area can become experimentation opportunity in another. Just such a stretching was tested when Nike's Sustainable Business Innovation team approached us with a question, charged with possibility, whilst challenged by current infrastructures of global business. .
