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  1. James S. Ackerman (1962). A Theory of Style. Journal of Aesthetics and Art Criticism 20 (3):227-237.
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  2. Lauren Ashwell & Rae Langton (2011). Slaves to Fashion? In Jessica Wolfendale & Jeanette Kennett (eds.), Fashion – Philosophy for Everyone: Thinking with Style. Blackwell 135--150.
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  3. Marguerite La Caze (2011). A Taste for Fashion. In Jessica Wolfendale & Jeanette Kennett (eds.), Fashion – Philosophy for Everyone: Thinking with Style. Blackwell
    One of the few philosophers who comments on fashion, Kant claims in his Anthropology from a Pragmatic Point of View that fashion should be classified as vanity and foolishness. He writes ‘it is novelty that makes fashion popular, and to be inventive in all sorts of external forms, even if they often degenerate into something fantastic and somewhat hideous, belongs to the style of courtiers, especially ladies. Others then anxiously imitate these forms, and those in low social positions burden themselves (...)
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  4. Nickolas Pappas (2008). Fashion Seen as Something Imitative and Foreign. British Journal of Aesthetics 48 (1):1-19.
    Philosophers have recently begun to write about fashion in dress. They acknowledge that philosophy traditionally ignored the subject altogether or else disparaged fashion. They do not observe that those past philosophers who slighted fashion characterized it as mass imitativeness; but in fact that one-sided characterization is what permitted commentators to overlook innovativeness in fashion. Indeed the figure of the foreigner that recurs in philosophical remarks about fashion only makes sense given a reading of fashion as imitative uniformity. The foreigner becomes (...)
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  5. Rémy G. Saisselin (1959). From Baudelaire to Christian Dior: The Poetics of Fashion. Journal of Aesthetics and Art Criticism 18 (1):109-115.
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  6. B. Schiermer (2011). Quasi-Objects, Cult Objects and Fashion Objects: On Two Kinds of Fetishism on Display in Modern Culture. Theory, Culture and Society 28 (1):81-102.
    This article attempts to rehabilitate the concept of fetishism and to contribute to the debate on the social role of objects as well as to fashion theory. Extrapolating from Michel Serres’ theory of the quasi-objects, I distinguish two phenomenologies possessing almost opposite characteristics. These two phenomenologies are, so I argue, essential to quasi-object theory, yet largely ignored by Serres’ sociological interpreters. They correspond with the two different theories of fetishism found in Marx and Durkheim, respectively. In the second half of (...)
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  7. Muhammad Velji (2012). Seductive Piety: Faith and Fashion Through Lipovetsky and Heidegger. Comparative Studies of South Asia, Africa and the Middle East 32 (1):147-155.
    Martin Heidegger broadened the meaning of art to a truth-disclosing event akin to seemingly disparate events such as the founding of a political state, Jesus’s sacrifice for all humankind, and the questioning of a philosopher. Art makes us pay attention to it by presenting the familiar in a new and unfamiliar context and unsettles our presuppositions and reconceptualizes our way of thinking. I begin by explicating the Heideggerian interpretation of the nature of art by looking at the key concepts that (...)
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