Suchergebnisse

A central preoccupation that constantly arises in Australian culture is the question of who 'we' are and where 'we' belong. So much is evident in independent women's fashion magazine Russh, the focus of this article, in which pride and uncertainty about Australian identity (and fashionability) are representationally resolved through a sensual, girlish and white fashionable ideal. By closely analysing magazine issues selected from its archive, this article charts the ways that Russh imagines Australian fashion as both imbricated with global flows as well as reaching from the periphery towards where fashion really originates. It then reads the fashionable femininity represented in the magazine in light of settler colonial fantasies that imagine the actualisation of national character amongst the Australian landscape – a landscape in which white presence is positioned as originary. This fashionable ideal symbolically rejects cosmopolitanism through her 'return to the bush' whilst embodying fashion itself, thus reconciling the tension between far and near. As such, Russh can be read as actively reinforcing a hegemonic Australian imaginary that elides the diversity of contemporary Australian culture/s whilst escaping censure, because as a niche fashion magazine peopled with dreamy protagonists, its content is situated firmly within the realm of fashion's fantasy.

In recent years, the outfit post - a defining feature of personal style blogs - has changed the seeing and being seen of dressing. What was once primarily a corporeal and temporal social practice has developed into a performed virtual reality in which style bloggers literally fashion
their identity on their blogs. Style blogs thus become both the space in which bloggers realize their own fashioned self and the site at which their readers experience them as stylish. These blogs have become a place for the display of the new and a realization of the imaginary, as well as
a site to record 'what I wore'. This article explores the phenomenon of outfit posts, focusing on the interanimation therein between bloggers' styled selves and their clothing. Central to this discussion will be a consideration of the ways that outfit posts are both performative and expressive
presentations of self.

Fashion as a cultural industry, with its interface between self and social, is laden with potential for interventions in systems of power. Yet its changemaking potential is susceptible to co-optation by neoliberal discourses that harness politics with a commodified, perfectible individuality that superficially counteracts hegemony even as it subtly reinforces it. So much is evident in nominally feminist wedding website A Practical Wedding, which provides an alternative media space for people who are marginalized by or politically opposed to the politics and commercial logics of the mainstream wedding industry. While many of its posts critique the 'wedding industrial complex' and provide meaningful spaces for queer and feminist people to discuss and plan their weddings, the posts relating to fashion and dress are largely emptied of feminist politics. While these posts gesture towards inclusivity and resistance, by harnessing these messages to commodity feminism and neoliberal concepts of self-perfection, these posts ultimately reinforce the heteropatriarchal messages in the industry that APW is ostensibly trying to resist. This article asks: what is at stake in the blog's excision of fashion from politics? What insights does this cleavage between apparel and the feminist political scene offer for scholars of feminism's digital ecosystem?

Abstract
MISE EN SCÈNE AND FILM STYLE, ADRIAN MARTIN (2014) London and New York: Palgrave Macmillan, illus., paperback ISBN: 1349444170, 235 pp., £19
EPHEMERAL TRACES: BRISBANE'S ARTIST-RUN SCENE IN THE 1980s, UNIVERSITY OF QUEENSLAND ART MUSEUM, BRISBANE, 2 APRIL 2016–26 JUNE 2016
MARGARITA ROBERTSON: 3.33.12, DUNEDIN PUBLIC ART GALLERY, DUNEDIN, NEW ZEALAND, 18 MARCH–17 APRIL 2016 Curated by Tim Pollock, Commercial Development Manager, Dunedin Public Art Gallery; Margarita Robertson, Creative Director, NOM*d
SKIN, SPACE, TRACE: REVIEW OF COLLETTE DINNIGAN: UNLACED, MUSEUM OF APPLIED ARTS AND SCIENCES, SYDNEY, AUSTRALIA, 5 SEPTEMBER 2015–28 AUGUST 2016
STRANGE AND FAMILIAR: BRITAIN AS REVEALED BY INTERNATIONAL PHOTOGRAPHERS, CURATED BY MARTIN PARR, BARBICAN CENTRE, LONDON, 16 MARCH 2016–19 JUNE 2016