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Fashion means much more than dress. There are fashions in all aspects of life, from the time and manner of taking meals to the ways in which people sit. Clothes are animated by bodies moving in space, through gesture and deportment, and attitudes towards work and leisure that have changed dramatically across culture and time. The dressed body occupies space in coded ways that are learned through socialisation and that are also subject to fashion. This anthology explores the multi-dimensions of fashion, from the market to the imagination. Fashion, a series of experts argue, is relational and weighty, yet still figures in the media and popular imagination as nebulous and opaque. This anthology seeks to overturn that popular view, introducing readers to new ways of conceptualising their interest and participation in fashion past and present

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.

This paper seeks to contribute to the increasing body of fashion scholarship focussed on space. Along with a spatial turn in human and social sciences, it is increasingly recognised by fashion researchers that spaces and places of fashion matter – but it is less discussed how a theoretical framework could be created to explore these. I here consider a Lefebvrian spatial analysis. The approach suggested recognises that dress is fundamentally political, as is the space which it inhabits. Dressed bodies are subject to hegemonic ideologies, but individuals have the power to resist these, too. I consider some parameters of a spatialized fashion sociology and what benefits such an approach can bring for fashion scholarship more generally. I contend that dress should be understood as spatial practice, which in its turn it creates spaces and realities, too. Such a framing allows for analysis of various spaces dressed bodies move through, and of how garments operate in these. Furthermore, it allows for extending the analysis by following garments through their whole life cycle, exploring the different kinds of spaces they enter. Such an approach has the potential for overcoming some persistent biases inherent in fashion scholarship, which tends to focus more on the 'core' than the 'periphery' locations of fashion.

There is much scholarship on dress and identity and the social, psychological and cultural aspects of dress within the textile and apparel discipline. While there is certainly much literature on dress, identity, fashion and the self, we sought to examine how Black women are centred in this area of research. To achieve our goal, we engaged in a systematic literature review to critically analyse how Black women's dress and identity are explored in fashion studies scholarship, which involved searching for recurring themes and then making suggestions for future research to fill in gaps regarding Black women's dress and identity expression. To narrow the scope of this research, we focused on two named theoretical perspectives: Black feminist thought and Africana womanism. After analysis of the publications, we identified two major themes: research centring resistance, oppression and Eurocentric beauty standards and holistic representations of Black women. Overall, our findings highlight that both Black feminist thought and Africana womanism theories could benefit from more expansive utilization within fashion studies research. Both frameworks are lightly referenced, especially Africana womanism, and, because of its rarity, could contribute newer and more critical knowledge to the discipline. There is so much more to explore about Black women's dress outside of these concepts. We hope to inspire new research on Black women with holistic representations of the self and style.