This chapter contains sections titled: What Is It To Be Fashionable? Appearing Fashionable Two Concepts of Fashion Fashion and Alienation The Metaphysics of Fashion.

What can fashionable ideas, blind faith, or pure fantasy possibly have to do with the scientific quest to understand the universe? Surely, theoretical physicists are immune to mere trends, dogmatic beliefs, or flights of fancy? In fact, acclaimed physicist and best-selling author Roger Penrose argues that researchers working at the extreme frontiers of physics are just as susceptible to these forces as anyone else. In this provocative book, he argues that fashion, faith, and fantasy, while sometimes productive and even (...) essential in physics, may be leading today's researchers astray in three of the field's most important areas--string theory, quantum mechanics, and cosmology... The result is an important critique of some of the most significant developments in physics today from one of its most eminent figures."--Jacket. (shrink)

John J. Stuhr, a leading voice in American philosophy, sets forth a view of pragmatism as a personal work of art or fashion. Stuhr develops his pragmatism by putting pluralism forward, setting aside absolutism and nihilism, opening new perspectives on democracy, and focusing on love. He creates a space for a philosophy that is liable to failure and that is experimental, pluralist, relativist, radically empirical, radically democratic, and absurd. Full color illustrations enhance this lyrical commitment to a new version (...) of pragmatism. (shrink)

This essay offers resources for the development of visual ethics by exploring Islamic fashion-veiling in one context: contemporary Indonesia. After providing a methodological framework and historical background for the case study, the moral discourse of two aesthetic authorities is discussed via a fashion blogger and print advice literature. The essay identifies how the practice of fashion-veiling generates norms, what is defined as morally valuable in this practice and why, and how this practice both offers opportunities for the (...) critique and the reinforcement of gendered norms. (shrink)

Revered as the ‘Queen of Qawwali’ and ‘Queen of Sufi music’, sixty-seven-year-old Abida Parveen is a spiritual phenomenon who transcends gender while performing. She is known for her signature fashion style of buttoned-up masculine-cut kurta with matching shalwar and an ajrak shawl. Her aesthetic circulates within transnational and national fashion media and popular cultural spaces through descriptors such as androgynous, masculine, modest, indigenous and sacred. As a highly respected figure with widely circulating performances on both the national and (...) international stages, as well through multiple media circuits, including television, social/digital media and broadcast concerts, Parveen's undeniable fame and her transgressive entry into an otherwise male-dominated music genre raises important questions about gender, embodiment, spirituality and the sacred. In analysing Parveen's body and dress in performance, I centre her sartorial style as sites of spirituality and affect to ask: what does it mean for Parveen to transcend gender through a performance of androgynous Sufism and mobilise it as an entry way into spiritual iconism? What imaginations around spirituality and the sacred become available through Parveen's sartorial practices? How does Parveen's style offer an alternative route to Muslim spirituality? Taking up Parveen's embodied coagulation between fashion and the sacred reveals an absence in feminist fashion studies on which subjects and styles are viewed as important, relevant, resistant or transgressive and thus worthy of theorisation. As a feminist scholar interested in the relationship between gender, power and self/representation, I see Parveen as a key global cultural and spiritual figure who necessitates transnational feminist analysis. This article is situated at the intersections of fashion and cultural studies, feminist, queer and trans spiritualities and South Asia studies. (shrink)

This article explores Nicolas Malebranche's approach to fashion: an inescapable postlapsarian consequence of God's sociable design of the human mind and body as manifested in the imagination. A problematic side effect of the general laws established by God governing the soul-body relationship, fashion wreaked havoc on individuals' thinking and potential for redemption yet pointed to a larger providential plan for social benefit. These ideas led Malebranche to a distinctive nonpolitical approach to fashion—both “Enlightenment project” and theodicy—in which (...) he sought to promote, toward human liberation and salvation, an enlightened understanding of the processes that created fashion and a charitable approach to managing it. Ultimately, however, his brain-based analysis ended up limiting individual freedoms (imaginative, cognitive, and behavioral), notably for those endowed with certain kinds of minds, in ways that had long-lasting effect. It also helped lay foundations for the Enlightenment's conflicted views about fashion as individual folly and beneficial social phenomenon. -/- Cet article montre que, pour Nicolas Malebranche, la mode constitua une conséquence inévitable de la Chute et du dessin sociable et providentiel de l'esprit et du corps, manifesté dans l'imagination. Effet secondaire et problématique des lois générales établies par Dieu pour gouverner les relations entre l'esprit et le corps, la mode entrave la réflexion et l'accès au salut tout en dessinant un plan providentiel, au bénéfice de tous. A la fois projet des Lumières et théodicée, cette approche apolitique s'efforce, dans une visée mêlant libération, salut et charité, de saisir les processus qui créent la mode afin de s'en accommoder. Parce qu'elle met l'accent sur le cerveau, cette approche tend pourtant à restreindre, de manière durable, les libertés individuelles (imagination, cognition, comportement), surtout pour certains types d'esprit. Et elle montre comment, pour les Lumières, la mode peut être à la fois une folie individuelle et un phénomène à multiples vertus sociales. -/- Copyright 2022 by Society for French Historical Studies. (shrink)

Fashion has a varied and explosive history. Our responsibility as educators preparing students and therefore careers for this context places us in a very difficult and complex position. Do we prepa...

This chapter contains sections titled: Being Fashionable Tryhards and Fashion Victims Effortless Cool Self‐effacing Goals.

If you just can't decide what to wear, this enlightening guide will lead you through the diverse and sometimes contradictory aspects of fashion in a series of lively, entertaining and thoughtful essays from prominent philosophers and writers. A unique and enlightening insight into the underlying philosophy behind the power of fashion Contributions address issues in fashion from a variety of viewpoints, including aesthetics, the nature of fashion and fashionability, ethics, gender and identity politics, and design Includes (...) a foreword by Jennifer Baumgardner, feminist author, activist and cultural critic, editor of Ms magazine and regular contributor to major women's magazines including Glamour and Marie-Claire. (shrink)

This paper offers personal reflections on the fashioning of the history of science in Europe. It presents the history of science as a discipline emerging in the twentieth century from an intellectual and political context of great complexity, and concludes with a plea for tolerance and pluralism in historiographical methods and approaches.

This chapter contains sections titled: The Sexual Citizen, Rights to Recognition, and Visibility as a Strategy.

Leandra Medine indicates that she wants the Man Repeller multi-author blog to ‘serve as an open forum for women to draw their own conclusions’ instead of making ‘any sort of feministic statement’. Medine renders feminism as amorphous and an individual choice but she has been widely lauded for offering a feminist engagement in fashion. Her practices and position, as I argue throughout this article, allow her to fashion feminism, including associating feminism with the man repeller style and replacing (...) aspects of second wave and rights-based feminisms with the purportedly more equitable and liberating website ethos of choice and equality feminism. Yet in replacing ‘feministic’ critiques with promises of stylish cultural change and clothing that reportedly repels men, Medine and other Man Repeller authors elide how systemic oppression functions. This ambivalent relationship to feminism, and dearth of intersectional advocacy, prompted a backlash in 2020. Critics interrogated Medine's facile statement about #BlackLivesMatter, the company's lack of diversity and the unsuccessful restructuring of the blog. As a means of analysing Man Repeller, I employ textual analysis, feminist and queer literature and media theory. I define fashioning feminism as a collaborative and ongoing process of producing feminist positions and thinking, including the negation of certain forms of feminism. I assert that attending to the fashioning of feminism can foreground central and developing feminist theories; the appeal, unstylishness and effacement of feminism; and the connection between style and politics. This includes readers’ interrogations of Man Repeller's politics, which are occurring along with contemporary examinations of racism. Since fashioning feminism is a collaborative and ongoing process of producing feminist positions and thought, engaging with its concepts and debates can further the critical study of feminism, nurture feminist conversations and advocate for social change. (shrink)

The biological sciences have become increasingly reliant on so-called 'model organisms'. I argue that in this domain, the concept of a descriptive model is essential for understanding scientific practice. Using a case study, I show how such a model was formulated in a preexplanatory context for subsequent use as a prototype from which explanations ultimately may be generated both within the immediate domain of the original model and in additional, related domains. To develop this concept of a descriptive model, I (...) focus on use of the nematode worm Caenorhabditis elegans and the wiring diagrams that were developed as models of its neural structure. In addition, implications of the concept of a descriptive model, particularly its relevance for the data-phenomena distinction as well as its relation to long-standing debates on realism, are briefly examined. (shrink)

In his review of Charles Spearman’s The Nature of ‘Intelligence’, R. G. Collingwood launched an attack upon psychometrics that was expanded in his Essay on Metaphysics. Although underrated by friend and foe alike, Collingwood’s critique identified a number of defects in the thinking of psychometricians that subsequently became entrenched. However, his main complaint was that psychology generally was a ‘fashionable scientific fraud’. This charge was inspired by his more general views on logic and metaphysics, which, however, as I argue, are (...) logically unsustainable. Ironically, other elements of his philosophy – his ‘fallacy of calculation’ and concept of ‘scale of forms’ – are relevant to psychometrics and tip the scales in favour of his otherwise unwarranted charge. (shrink)

By probing into how desire is involved in fashion phenomena, this article illuminates Willkür in tandem with desire. It first analyzes how the higher and lower faculties of desire, spelled out by Immanuel Kant, play a role in fashion, unveiling how fashion as a form of social relations exists in concert with the higher faculty of desire, which has a close connection with Willkür. This article maintains that the arbitrary choice manifested in and through fashion is (...) illustrative of Willkür, on the grounds that it results from a self-conscious deliberation, demonstrating the ‘reflective distance’ from our incentives. Christine M. Korsgaard’s elucidation of the relationship between ‘reflective distance’ and self-consciousness helps formulate this argument. However, this article also discusses the foibles of Korsgaard’s reading of Kant, in particular in the area of theory of action. By doing so, this article argues that reason is not the only factor with which we make choices and take actions within the bounds of which freedom is secured, and that fashion allows us to comprehend not only how the power of choice, independent from necessitation by sensible impulses, exercises its freedom, but also how personal autonomy is related to Kant’s negative concept of freedom. (shrink)

By probing into how desire is involved in fashion phenomena, this article illuminates Willkür in tandem with desire. It first analyzes how the higher and lower faculties of desire, spelled out by I...

By probing into how desire is involved in fashion phenomena, this article illuminates Willkür in tandem with desire. It first analyzes how the higher and lower faculties of desire, spelled out by I...

The unbridled consumption of clothing threatens the environment. In fashion communities, a discussion is developing around the adoption of new materials and economic models to reduce the impacts of clothing production and use. We discuss these emergent technologies in the wider historical setting of the Anthropocene, a geologic term that denotes the global-scale environmental changes brought about by agricultural and industrial activity. The long history of human-environmental interactions is interwoven with the development of international garment economies that have shaped (...) biological and physical systems. This article provides an account of how changes in clothing manufacturing and consumption patterns have... (shrink)

Eugene 'Gene' Vernier worked as a fashion photographer for British Vogue from 1954 to 1967, during one of the most exciting periods in fashion history. Shooting of-the-moment looks from the likes of Christian Dior and Emilio Pucci and top models including Celia Hammond, Jean Shrimpton, and current Vogue creative director Grace Coddington, Vernier worked with some of the biggest names in the industry. Yet he was relatively unconcerned with celebrity. Interested only in bringing out the very best in (...) each frame, Vernier was a true craftsman in the fashion photography trade. Featuring more than one hundred of Vernier's own favorite photographs drawn from Vogue's extensive photo archive, this lavishly illustrated volume reveals remarkable innovation in the use of props, backdrops, and location. Whether he was photographing his subjects by the sea, with a canine companion, or perfectly positioned atop a pale pink convertible, Vernier's careful composition enhanced the essence of his subject. Vernier shot mostly in black-and-white, and his trademark “look” is one of classic femininity. He sought to capture models when they were relaxed, enjoying the clothing, and confident that their photographer would show both only at their best. Providing commentary on the photographs are fashion history expert Becky Conekin and Vogue historian Robin Muir. This is first book to focus on Vernier's work at Vogue and it allows readers a rare glimpse of his inimitable blend of technical excellence and an eye for experimentation. (shrink)

Everyday life is a central theme of Hong Kong poetry. Many Hong Kong poets use the quotidian as a starting point for the exploration of history and alternative imaginings. This mundane focus, unlike the colonial dreamscape of Hong Kong as an economic miracle, allows writers to reflect upon Hong Kong as a post-colonial and global space. The Hong Kong writer Natalia Chan examines the complex nature of everyday life within the space of the global and post-colonial city. Chan’s poems deal (...) with the essence of everydayness and use commodities to conjure up the vivacity of the urbanscape of Hong Kong. Unlike the political and economic discourse that is usually used to define Hong Kong, Chan’s work portrays Hong Kong as a city that offers the possibility of daily re-creation against the background of history. In this article, we will examine Chan’s use of the circulation of commodities in the global world and explore the way fashion becomes a point where high and popular culture, private and public domains, and local and global interests clash, negotiate, and fertilize each other. Chan’s works do not conform to the economic and prosperity discourse that has repressed Hong Kong; rather, she guides her readers to re-experience the everydayness of routines, to celebrate alternate ways of understanding the urbanscape, and to open themselves to the potentialities of art and the everyday. (shrink)

Fashion is defined by an infinite variation of a single tautology … stripped of content, but not of meaning. A kind of machine for maintaining meaning without ever fixing it, it is forever a disappointed meaning. … [I]t … becomes the spectacle human beings grant themselves of their power to make the insignificant signify; Fashion then appears as an exemplary form of the general act of signification, thus rejoining the very being of literature which is to offer to (...) read not the meaning of things but their signification.Meaning is distributed according to a kind of revolutionary grace; its power becomes so autonomous that it can act at a distance and in the end dissolve substance itself. … [M]eaning denies substance... (shrink)

“I don’t want to create painful shoes, but it is not my job to create something comfortable.” – Christian Louboutin. (in Alexander, 2012) Pain is an essential part of the grooming process, and that...

Hinging on a metaphysical examination of the concept of newness and Paul Guyer’s notion of the temporally extended self, this article analyzes what it means that we are a temporally extended being that is fashioned in time, which is none other than a transcendental object = newness, and argues that (fashioned) bodies can be things in themselves and mere phenomena simultaneously. Kant’s doctrine of self-positing assists us in decoding how the subject obtains an embodied experience while a thing in itself, (...) as well as how both a non-empirical affection and an empirical affection are at play, casually affecting the subject. By looking into how double affection is in operation, this article aims to broaden our understanding of Kant’s theory of self-consciousness. (shrink)

How do markets come about? This article offers a first systematic analysis of three different ideal types of market fashioning: mutual adjustment, organization, and fields. Although aspects of these are identifiable in most empirical markets, these three ideal types provide analytic tools for students of real markets and marketplaces. After going through this comprehensive literature, it is argued that mutual adjustment, which refers to non-planned processes, is affinity with markets in which products are differentiated, for example, producer markets. Organization refers (...) to process driven by attempts to decide for others and shows affinity with markets for standardized and homogenous products, for example, stock exchanges. Organization also accounts for the making of marketplaces. The broader notion of fields does not refer to any specific process, but accounts for the context of market fashioning and its respective power struggles. (shrink)

This chapter contains sections titled: What Is Paradigmatic Barbie Doll Play? Barbie's Influence in Cultural Context What Should Feminists Make of Barbie? Reinventing Barbie Play.

Fashion is at once a familiar yet mysteriously elite world that we all experience, whether we’re buying a new pair of jeans, reading _Vogue_, or watching the latest episode of _Project Runway_. Lars Svendsen dives into that world in _Fashion_, exploring the myths, ideas, and history that make up haute couture, the must-have trends over the centuries, and the very concept of fashion itself. _Fashion _opens with an exploration of all the possible meanings encompassed by the word “ (...) class='Hi'>fashion,” as Svendsen probes its elusive place in art, politics, and history. Ultimately, however, he focuses on the most common use of the term: clothing. With his trademark dry wit, he deftly dismantles many of the axioms of the industry and its supporters. For example, he points out that some of the latest fashions shown on runways aren’t actually “fashionable” in any sense of the word, arguing that they’re more akin to modern art works, and he argues against the increasingly prevalent idea that plastic surgery and body modification are part of a new wave of consumerism. Svendsen draws upon the writings of thinkers from Adam Smith to Roland Barthes to analyze fashion as both a historical phenomenon and a philosophy of aesthetics. He also traces the connections between the concepts of fashion and modernity and ultimately considers the importance of evolving fashions to such fields as art, politics, and philosophy. Whether critiquing a relentless media culture that promotes perfect bodies or parsing the never-ending debate over the merits of conformity versus individual style, Lars Svendsen offers an engaging and intriguing analysis of fashion and the motivations behind its constant pursuit of the new. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Fashioning the "Order of Saint Clare." A Rule illuminated by Neri da Rimini:Princeton University Library MS 83 in contextFrances Andrews (bio) and Louise Bourdua (bio)KeywordsRule of Urban IV, Clare of Assisi, Urbanist Clare nuns, Manuscript illumination, Neri da RiminiIntroduction1This interdisciplinary essay is an investigation of an illuminated, early 14th-century copy of the rule of the "Order of Saint Clare" issued by Pope Urban IV in 1263, now in Princeton. (...) It examines the unprecedented visual language adopted in a female Franciscan context to authorize their way of life, and places the manuscript in context, exploring how it relates to other early representations showing Saints Francis and Clare together and documenting the production of this and comparable early rule manuscripts, including a previously unpublished copy now in Venice.2Thousands of manuscript copies of rules of life were produced in and for late medieval religious houses and their members, good numbers of which remain extant, though these are scarce remnants of what must originally have been produced. Rules do sometimes appear in extant library inventories,3 but unlike individual books destined for personal [End Page 75] prayer or study and ultimately deposit in a conventual library, their primary purpose was as legal texts binding all who professed them.4 In their iterative function, read and reread, alone or aloud in the community, they were comparable to liturgical books, though they were not for use in church nor kept in the sacristy.5 In the rule of Urban IV for the Order of Saint Clare investigated here, chapter twenty-four required that the rule be read and explained annually by the visitator, while the final chapter emphasized that it be read once each fortnight lest the sisters neglect it.6 This sort of repetition must have ensured most nuns knew the rule by memory, having first encountered its details as novices, with no need to own the text. Copies were perhaps in the hands of the abbess, a visitator, or other monastic superior, or kept in the chapter room or refectory, ready for routine use.7 Nonetheless, wealthier women may have had a copy prepared or received one as a gift, either on entering the religious life or on becoming a superior responsible for its observance.8Princeton University Library, Manuscripts Division, Department of Rare Books and Special Collections, MS 83, contains a Latin, [End Page 76] professionally made and illuminated copy of the text designed to substitute existing rules, including the 1219 Forma Vitae issued by Cardinal Hugolino and the rule of Innocent IV from 1247.9 Clare's own hard-fought for rule, approved in 1253, was initially for the San Damiano community alone and was followed in subsequent decades by a very small group of houses.10 The making of Urban IV's rule, adopted instead by hundreds of communities, has been much discussed, but the survival of this early illuminated copy has gone unnoticed outside the library catalog.11 The manuscript includes the earliest extant sequence known to us showing Clare of Assisi receiving the rule from the pope and in turn taking the profession of her sisters, images designed to legitimize the new order by building ties to its "founder" while yet acknowledging its papal origins. Among extant imagery it is pioneering. The large, illuminated initials have been recognized as painted by Nerius da Rimini and his workshop but the case has never been set out and PUL MS 83 has [End Page 77] not been included in accounts of this artist's production.12 Better known as "Neri," he is a comparatively well-documented manuscript illuminator whose signatures sometimes survive on his work, a rare practice at this date.13Historians of medieval women religious are by now familiar with books produced by women themselves.14 A beautiful manuscript, for example, containing Bonaventure's Legenda Maior of Saint Francis, the Vita beati Antonii and documents relating to the Portiuncula indulgence was written in Latin in 1337 by two sisters, Elspet von Amberk and Katerina von Purchausen, perhaps living in the Paradies convent in Diessenhofen (Switzerland).15 Other women have been identified as skilled illuminators.16 The prolific activity of... (shrink)

Recently, an increasing number of scholars have been showing interest in old-fashioned racism again. While recent studies on old-fashioned racism apparently increase our knowledge of this psychological theory of racism, the studies actually shed light on a different type of racism, namely offensive racism. The aim of this text is to argue that psychological theories of racism, like old-fashioned racism and modern racism, depend on societies’ social norms. I will show that questionnaires are highly sensitive to social norms, and if (...) there is change in social norms, the original measurement object alters. The theory of old-fashioned racism implicitly assumes agents that follow (or conform to) the social norm to behave prejudiced. Today, however, this social norm does not exist in Western societies. If agents express the same prejudices today, they indicate their willingness to breach the social norm to behave unprejudiced. Thereby, classic old-fashioned racism measures reflect a new kind of racism today. (shrink)

For any market to work properly, certain key elements are necessary: competition, pricing, rules, clearly defined offers, and easy access to information. Without these components, there would be chaos. Orderly Fashion examines how order is maintained in the different interconnected consumer, producer, and credit markets of the global fashion industry. From retailers in Sweden and the United Kingdom to producers in India and Turkey, Patrik Aspers focuses on branded garment retailers--chains such as Gap, H&M, Old Navy, Topshop, and (...) Zara. Aspers investigates these retailers' interactions and competition in the consumer market for fashion garments, traces connections between producer and consumer markets, and demonstrates why market order is best understood through an analysis of its different forms of social construction. Emphasizing consumption rather than production, Aspers considers the larger retailers' roles as buyers in the production market of garments, and as potential objects of investment in financial markets. He shows how markets overlap and intertwine and he defines two types of markets--status markets and standard markets. In status markets, market order is related to the identities of the participating actors more than the quality of the goods, whereas in standard markets the opposite holds true. Looking at how identities, products, and values create the ordered economic markets of the global fashion business, Orderly Fashion has wide implications for all modern markets, regardless of industry. (shrink)

Fashion is an important source for shedding light on modern aesthetic experience. Not only does fashion represent concrete aesthetic quality that reveals the spirit of the times, but it also epitomizes the social relations in liaison with the aesthetic taste of the times. This essay discusses the relationship between Georg Simmel’s sociological aesthetics and Hegel’s dialectics, demonstrates fashion as a domain in which subject-object relations are operative, and shows how fashion hypostatizes the dialectical relations between mind (...) and body and between the individual and the collective while connecting subject and object. (shrink)

Medieval European culture was obsessed with clothing. In _Fashioning Change: The Trope of Clothing in High-and Late-Medieval England,_ Andrea Denny-Brown explores the central impact of clothing in medieval ideas about impermanence and the ethical stakes of human transience. Studies of dress frequently contend with a prevailing cultural belief that bodily adornment speaks to interests that are frivolous, superficial, and cursory. Taking up the vexed topic of clothing’s inherent changeability, Denny-Brown uncovers an important new genealogy of clothing as a representational device, (...) one imbued with a surprising philosophical pedigree and a long history of analytical weightiness. Considering writers as diverse as Boethius, Alain de Lille, William Durand, Chaucer, and Lydgate, among others, Denny-Brown tracks the development of a literary and cultural trope that begins in the sixth century and finds its highest expression in the vernacular poetry of fifteenth-century England. Among the topics covered are Boethian discourses on the care of the self, the changing garments of Lady Fortune, novelty in ecclesiastical fashions, the sartorial legacy of Chaucer’s Griselda, and the emergence of the English gallant. These literary treatments of vestimentary variation—which develop an aesthetics of change itself—enhance our understanding of clothing as a phenomenological and philosophical category in medieval Europe and illustrate the centrality of the Middle Ages to theories of aesthetics, of materiality, and of cultural change. (shrink)

Borrowing some of Aby Warburg’s methods from his Mnemosyne Atlas, this paper experiments with an anti-linear, non-teleological method of writing fashion history. It investigates fashion movement, gesture and pose, and their afterlife in images and objects. It thus looks at the intersection of time and the gesture, particularly in relation to the idea of the ‘now’, a central organising principle of fashion. To this end, it juxtaposes images of the body in motion from a wide range of (...) sources, including scientific photography, etiquette manuals and fashion magazines. Spanning three centuries, though not chronologically, the images show a range of activities: not only fashion posing, but also tennis-playing, duelling, dancing, military marching, social gestures, and going to the races. The paper proposes that each image is charged with some quality or attribute that is also immanent in one or more of the others, even though they have no causal or temporal relationship. (shrink)

Borrowing some of Aby Warburg’s methods from his Mnemosyne Atlas, this paper experiments with an anti-linear, non-teleological method of writing fashion history. It investigates fashion movement, gesture and pose, and their afterlife in images and objects. It thus looks at the intersection of time and the gesture, particularly in relation to the idea of the ‘now’, a central organising principle of fashion. To this end, it juxtaposes images of the body in motion from a wide range of (...) sources, including scientific photography, etiquette manuals and fashion magazines. Spanning three centuries, though not chronologically, the images show a range of activities: not only fashion posing, but also tennis-playing, duelling, dancing, military marching, social gestures, and going to the races. The paper proposes that each image is charged with some quality or attribute that is also immanent in one or more of the others, even though they have no causal or temporal relationship. (shrink)

This essay asks why modernist art history has been unable to account for the career of the African American painter Rose Piper. One of the most gifted painters of her generation, Piper was also amo...

Perfumes embody a chemical record of style and technology. Blurring the boundary between what counts as natural and artificial in both a material and a perceptual sense, perfumery presents us with a domain of multiple disciplinary identities relevant to social studies: art, craft, and techno‐science. Despite its profound impact as a cultural practice, perfume has seldom featured in historical scholarship. The reason for this neglect is its inherently qualitative dimension: perfume cannot be understood via codified representation but requires direct acquaintance (...) with its sensory and material basis. The historical study of perfumery thus necessitates an experimental approach that comes not without challenge. This article looks at contemporary recreations of old perfumes to identify the difficulties involved in the experimental recreation of fragrances as sensory and performative artifacts. We highlight the need for a reconceptualization of methodology for inconcrete objects of study as part of the broader interest in experimental approaches to the humanities. (shrink)

Lars Svendsen draws upon the writings of thinkers from Adam Smith to Roland Barthes to analyze fashion as both a historical phenomenon and a philosophy of aesthetics.

Modern Western society has framed fashion in opposition to hegemonic masculinity. However, fashion functions as a principal means by which men’s visible gender identities are established as not only different from women but also from other men. This article draws on the concept of hybrid masculinities and on wardrobe interviews with Canadian men across social identities to explore how men enact masculinities through dress. I illustrate three ways men do hybrid masculinities by selecting, styling, and wearing clothing in (...) their everyday lives. The differences between these three hybrid masculine configurations of practice are based on the extent to which men’s personal and professional social identities were associated with hegemonic masculine ideals as well as the extent to which those ideals shaped the settings in which they were situated. Although participants had different constellations of gender privilege, they all used dress to reinforce hegemonic masculinity, gain social advantages, and subsequently preserve the gender order. Failing to do so could put them personally and professionally at risk. My research nuances the hybrid masculinities framework by demonstrating how its enactment is shaped by the intersection between men’s social identities and social contexts. (shrink)

This article explores some of the key dynamics of the UK fashion sector as an example of a post-industrial, urban based, cultural economy comprising of a largely youthful female workforce. It argues that the small scale, independent activities which formed the backbone of the success of British fashion design as an internationally recognized phenomenon from the mid 1980s to the mid 1990s, represented a form of female self-generated work giving rise to collaborative possibilities and co-operation. However without an (...) effective lobby or association (despite the expansion of the fashion media) and under conditions of rapid individualization and in an increasingly harsh climate of neo-liberalization, this creative economy has been overtaken and virtually demolished by the joint forces of a re-vitalized high street fashion culture and the aggressive presence of corporate fashion (‘Prada-ization’). While the UK government celebrates the growth of the cultural economy, it also overlooks the processes making the livelihoods of its predominantly female workforce either untenable or else requiring de-specialization and ‘multi-tasking’. (shrink)

In the famous account of his two-year experiment of a simple life away from the distractions of society, Walden, or Life in the Woods, Henry David Thoreau wrote that "a man who has at length found something to do will not need to get a new suit to do it in; for him the old will do, that has lain dusty in the garret for an indeterminate period."1 Since its first publication in 1854, Walden has had as many critics as (...) adherents, and until now, Thoreau's attempt at a life of self-sufficiency in harmony with nature has divided views. Despite this, the above quote embodies a dilemma that is as salient in the current crisis of our unsustainable model of fashion consumption as it was in the nineteenth century, when the... (shrink)

The Straight Edge hardcore movement at the end of the twentieth century managed to achieve a remarkable inversion of lifestyle values. Turning their lifestyle choice of no drinking, smoking, and drugs into a cool thing, not a good thing, they exposed how rebellious ethics mixed with anger and aggressive youth culture can make a powerful and energetic mix. Their inversion of the lifestyle values of the rebel and hedonist generation just before them could in turn be folded upon itself in (...) continuously new ways, turning anger toward many social ills into processes of awareness-raising as well as social mobilization. In the realm of fashion, could a utopia of sustainable consumerism perhaps also be folded and queered in... (shrink)

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 a deus ex machina accounting for the newness in fashion that the imitative model renders otherwise inexplicable. (shrink)

This paper looks at the place of items long associated with the bodies of South Asian women in mainstream fashion. First, there will be a profiling of some of the scenes where bindhies, mendhies and related scents and sounds are donned and adored by white bodies. By participating in conversations with South Asian women in Britain in the second part of the article, the author is able to discuss some of the stirrings raised by the recent legitimization of these (...) items by multicultural capitalism, leading towards an exploration of a different sense of aesthetics, memory and desire. The ambivalent attraction of limited recognition offered by the anthropological urge to ‘know’ the ethnic ‘other’ is noted. A consideration of the rage induced by the power of whiteness to play with ‘ethnic’ items which had not so long ago been reviled when they were worn by South Asian women points to the historical amnesia that underlies much multicultural celebration. The allure of images packaged as oriental for South Asian women themselves, although often from a different set of sensibilities and memories, stresses the importance of historical reconstruction. (shrink)

Affordances are standardly understood as perceived possibilities for interaction. What is afforded is in turn regarded as dependent on the properties of a body and its environment. Human bodies are nearly ubiquitously clothed, and clothing can change the capabilities of bodies. We argue that when clothing does this, it should be regarded as an affordance transforming technology. Clothing receives passing attention in remarks by Gibson, and some empirical work in ecological psychology uses worn items as experimental manipulations. We argue that (...) the effects of clothing should be a central topic of investigation. We further show how the notion of clothing as an affordance transforming technology allows ecological psychology to accommodate feminist insights about the restrictive or oppressive nature of some gendered clothing norms. We aim to show that if ecological psychology is to be a general framework for thinking about human perception and activity, then it should consider clothing, because of the differences it can make to what is afforded. It should do so critically because the ways that clothing transforms affordances are sometimes discriminating in that what people are expected to wear and what differences that makes aren’t independent of how they’re classified in systems of power and oppression. (shrink)