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Over the past three centuries, London has established itself as one of the world's most inventive fashion capitals. 'Fashioning London' looks at the manner in which particular styles of dress became associated with this leading international city.
While much attention has been paid to the making of Paris in the work of writers and artists, little is known about the city as defined and created by the fashion media. Filling this gap in studies of the French capital, this original and illuminating book focuses on how the French fashion press - with its rich conjunction of words and images - has been able to construct Paris as a leading world fashion city.Based in an original analysis of fashion writing and images in contemporary French fashion magazines and newspapers, the book shows how the fashion media have been central to the consecration of the city of Paris on the fashion map, as well as its celebration in the collective imaginary. Agnes Rocamora explores, for example, the figures of 'la Parisienne' and 'la passante' (the female passer by), and the presence of the Eiffel tower in fashion visuals. She gives attention to the continuum between the French journalistic discourse and that of cultural forms such as films, paintings and literature, thus revealing the persistence across texts and time of visions of Paris and shedding light on the production and reproduction of the Paris myth.
The book explores the dandy as a cultural type across Europe and Russia from the eighteenth century through the present day. Olga Vainshtein offers a unique view on dandyism as a cultural tradition, based not merely on fashionable attire, but also as a particular lifestyle with specific standards of behaviour, bodily practices and conceptual approaches to dress. The dandy is described as the prototypical hero of the modern cult of celebrities. From clubbing manners, the techniques of virtual aristocratism, urban flâneurs and the correct way to examine people, Vainshtein walks us through optical duels and the techniques of visual assessment at social gatherings. Readers will learn about strategies of subversive behaviour found in practical jokes, the fine art of noble scandal, dry wit, bare-faced impudence and mocking politeness. Looking at dandyism as a nineteenth-century literary movement, Vainshtein examines representation of dandies in fiction. Finally, a large section is devoted to Russian and Soviet dandyism and the dandies of today.
With a focus on sub-Saharan Africa, Fashioning the Afropolis provides a range of innovative perspectives on global fashion, design, dress, photography, and the body in some of the major cities, with a focus on Lagos, Johannesburg, Dakar, and Douala. It contributes to the ongoing debates around the globalization of fashion and fashion theory by exploring fashion as a genuine urban phenomenon on the continent and among its diasporas. To date, “fashion” and “city” have not been systematically related to each other in the African context and, for too long, a western-centric gaze has dominated scholarship, resulting in the perception of Africa as provincial and its visual arts and textile cultures as static and folkloristic. This perspective is all the more distorted, given Africa's rich sartorial past. With a huge number of tailors ready to adapt and renew clothing, reshaping garments into contemporary styles, and many cities in Africa becoming hot-spots for a steadily growing and well-connected scene of fashion designers in the past 20 years, the time is ripe for a reevaluation and reconsideration of the fashionscapes of Africa. Leading scholars offer an updated empirical and theoretical foundation on which to base new and exciting research on sub-Saharan fashion, challenging perceptions and offering new insights.
In 2005, British supermodel Kate Moss went to Glastonbury with her then-boyfriend, indie rocker Pete Doherty. Their unwashed appearance captured widespread attention, propelling the British indie music scene and its signature look-slender bodies clad in skinny jeans-to the center of popular fashion. Using this fashionable watershed as a launching point, Fashioning Indie narrates indie's evolution: from a 1980s British music subculture into a 21st-century international fashion phenomenon. It explores the lucrative transformation of indie style, first into high concept menswear and later into “festival fashion”-a womenswear phenomenon that remade what indie looked like and provided a launching point to reimagine who the ideal subject of indie could be. Fashioning Indie is essential reading for academic and popular audiences, offering an original account of what happens when a subculture is incorporated into the commercial fashion system. As the music and fashions of festivals face increasing scrutiny in debates about diversity and inclusion, and the transformations of indie style coincide with the global expansion of the second-hand retail sector, the book offers also essential insights into the broader culture of popular fashion in the 21st century and the values that inform it.
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Representations of fashionable femininity have multiplied throughout the 20th century, with complex versions of feminine identity being found in fashion store advertising, magazines, photography, and museum collections. This book examines the relationship between women's fashion, female representation and femininity in Britain throughout the 1900s. The authors unpick the dynamics of the fashion system and set fashion into the context of British social life, using the oral history accounts of women of all classes to highlight the meanings of particular fashions.
The valuing of old clothes as “vintage” and the recollection of the sartorial past, whether through second-hand consumption or the wearing of new old-fashioned clothes, has become a widespread phenomenon. This book illuminates sartorial and bodily engagements with memory and time through the temporal and nostalgic potency of fashion, and what this means for contemporary wearers. Based on in-depth ethnographic research including participant observation and interviews with sixties enthusiasts in Germany, who relocate British mod style into the twenty-first century, Jenss examines the practices and experiences that are part of the sartorial remembering of “the sixties,” from hunting flea markets and eBay, to the affect of material and mediated memories on vintage wearers. Jenss offers unique insights into the fashioning of time, cultural memory, and modernity, tracing the history and current appeal of vintage in fashion and youth culture, and asking: what kind of experiences of temporality and memory are enacted through fashion? How have evaluations of second-hand clothes shifted in the twentieth century? Fashioning Memory provides a unique insight into the diverse use of fashion as a memory mode and asks how style is remembered, performed, transformed, and reinvested across time, place, and generation.
From artist to curator, couturier to fashion blogger, 'creative' professional identities can be viewed as social practices, enacted, performed and negotiated through the media, the public, and industry. Fashioning Professionals addresses what it means to be a creative professional, historically and in the digital age, as new ways of working and doing business have given rise to new professional identities. Bringing together critical reflections from international researchers, the book spans fashion, design, art, architecture, and advertising. It examines both traditional and emergent roles in creative industries, from advertising executives and surrealist artists to mannequin designers, pop stylists, bloggers, makers and design curators. The book reveals how professional identities are continually in a state of fashioning, through style, taste, gender and cultural representation, highlighting moments of friction and flux in the creative labour of the global economy. Interweaving critical perspectives from fashion and design history with sociology and cultural theory, Fashioning Professionals addresses a burgeoning area of research as we enter new terrain in fashion and the creative industries.
We dress to communicate who we are, or who we would like others to think we are, telling seductive fashion narratives through our adornment. Yet, today, fashion has been democratized through high-low collaborations, social media and real-time fashion mediation, complicating the basic dynamic of identity displays, and creating tension between personal statements and social performances. Fashioning Identity explores how this tension is performed through fashion production and consumption,by examining a diverse series of case studies - from ninety-year old fashion icons to the paradoxical rebellion in 'normcore', and from soccer jerseys in Kenya to heavy metal band T-shirts in Europe. Through these cases, the role of time, gender, age memory, novelty, copying, the body and resistance are considered within the context of the contemporary fashion scene. Offering a fresh approach to the subject by readdressing Fred Davis' seminal concept of 'identity ambivalence' in Fashion, Culture and Identity (1992), Mackinney-Valentin argues that we are in an epoch of 'status ambivalence', in which fashioning one's own identity has become increasingly complicated.