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This book provides a concise and much-needed introduction to the sociology of fashion. Most studies of fashion do not make a clear distinction between clothing and fashion. Kawamura argues that clothing is a tangible material product whereas fashion is a symbolic cultural product. She debunks the myth of the genius designer and explains, provocatively, that fashion is not about clothes but is a belief. There is an institutional structure, ignored by many fashion theorists, that has shaped and produced the fashion phenomenon. Kawamura further shows how the structural nature of the fashion system works to legitimize designers creativity and can make them successful. Newer fashion cities, such as Milan and New York, are the product of the fashion system that originated in Paris. Without that systemic structure, fashion culture would not exist. Fashion-ology provides a big picture approach that focuses on the social process behind fashion and its perpetuation.
Teaching Fashion Studies is the definitive resource for instructors of fashion studies at the undergraduate level and beyond. The first of its kind, it offers extensive, practical support for both seasoned instructors and those at the start of an academic career, in addition to interdisciplinary educators looking to integrate fashion into their classes. Informed by the latest research in the field and written by an international team of experts, Teaching Fashion Studies equips educators with a diverse collection of exercises, assignments, and pedagogical reflections on teaching fashion across disciplines. Each chapter offers an assignment, with guidance on how to effectively implement it in the classroom, as well as reflections on pedagogical strategies and student learning outcomes. Facilitating the integration of practice and theory in the classroom, topics include: the business of fashion; the media and popular culture; ethics and sustainability; globalization; history; identity; trend forecasting; and fashion design.
The study of fashion has expanded into a thriving field of inquiry, with researchers utilizing diverse methods from across subject disciplines to explore fashion and dress in wide-ranging contexts. With an emphasis on material culture and ethnographic approaches in fashion studies, this groundbreaking volume offers fascinating insights into the complex dynamics of research and fashion. Featuring unique case studies, with interdisciplinary scholars reflecting on their practical research experiences, Fashion Studies provides rich and nuanced perspectives on the use, and mixing and matching of methodological approaches – including object and image based research, the integration of qualitative and quantitative methods and the fluid bridging of theory and practice. Engaging with diverse subjects, from ethnographies of model casting and street-style blogging, wardrobe studies and a material culture analysis of global denim wearing, to Martin Margiela's design and archival methods, Fashion Studies presents complex approaches in a lively and informative manner that will appeal to students of fashion, anthropology, sociology, cultural studies and related fields.
Includes articles from the first volume of the journal 'Critical Studies in Fashion & Beauty' with an additional editorial on the auction prices of fashion collectibles.
The Handbook of Fashion Studies identifies an innovative spectrum of thematic approaches, key strands and interdisciplinary concepts that continue to push forward the boundaries of fashion studies. The book is divided into seven sections: Fashion, Identity and Difference; Spaces of Fashion; Fashion and Materiality; Fashion, Agency and Policy; Science, Technology and New fashion; Fashion and Time and, Sustainable Fashion in a Globalised world. Each section consists of approximately four essays authored by established researchers in the field from the UK, USA, Netherlands, Sweden, Canada and Australia. The essays are written by international subject specialists who each engage with their section's theme in the light of their own discipline and provide clear case-studies to further knowledge on fashion. This consistency provides clarity and permits comparative analysis. The handbook will be essential reading for students of fashion as well as professionals in the industry.
Bridging theory and practice, this accessible text considers fashion from both cultural studies and fashion studies perspectives, and addresses the growing interaction between the two fields. Kaiser and Green use a wide range of cross-cultural case studies to explore how race, ethnicity, class, gender and other identities intersect and are produced through embodied fashion. Drawing on intersectionality in feminist theory and cultural studies, Fashion and Cultural Studies is essential reading for students and scholars. This revised edition includes updated case studies and two new chapters. The first new chapter explores religion, spirituality, and faith in relation to style, fashion, and dress. The second offers a critique of “beauty” and considers dressed embodiment inclusive of diverse sizes, shapes and dis/abilities. Throughout the text, Kaiser and Green use a range of examples to interrogate the complex entanglements of production, regulation, distribution, consumption, and subject formation within and through fashion.
Fashion theories and histories -- Fashion practices : from the museum to the workplace and beyond -- Fashion, body and identity -- Fashion and place -- Fashion and print media : literature and magazines -- Fashion and film -- Television and new media -- The future of fashion and its challenges.
This collection of original essays interrogates disciplinary boundaries in fashion, gathering fashion studies research across disciplines and from around the globe. Fashion and clothing are part of material and visual culture, cultural memory, and heritage; they contribute to shaping the way people see themselves, interact, and consume. For each of the volume’s eight parts, scholars from across the world and a variety of disciplines offer analytical tools for further research. Never neglecting the interconnectedness of disciplines and domains, these original contributions survey specific topics and critically discuss the leading views in their areas. They include discursive and reflective pieces, as well as discussions of original empirical work, and contributors include established leaders in the field, rising stars, and new voices, including practioner and industry voices. This is a comprehensive overview of the field, ideal not only for undergraduate and postgraduate fashion studies students, but also for researchers and students in communication studies, the humanities, gender and critical race studies, social sciences, and fashion design and business.
This interdisciplinary book aims to advance knowledge in the field of fashion studies. It offers diverse perspectives on fashion related to identity formation, fashion's industries, theory, and media.
Exploring the debate over the benefits of legal protection for fashion design, this book focuses on how a combination of minimal legal protections for design, evolving social norms, digital technology, and market forces can promote innovation and creativity in a business known for its fast-paced remixing and borrowing. Focusing on the advantages and disadvantages of the main US and EU IP laws that protect fashion design in the world’s biggest fashion markets, it describes how recent US case law in copyright and trademark cases has led to misaligned incentives for the industry and a lack of clear protection, while, in the EU, the CJEU’s interpretation of the pan-European design rights system has created significant overlap with copyright law and risks, leading to the overprotection of design. The book proposes that creativity and innovation in fashion derive some benefit from a limited unregistered design right protection, and that cumulation with copyright protection is unhelpful. It also proposes that there is a larger role for developing social norms relating to sustainability, the ethics of cultural appropriation, and the online shaming of counterfeiters that can also help create a fair equilibrium between protection and borrowing in fashion design.