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Adorned in Dreams: Fashion and Modernity

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... There was for a long time an assumption that 'modernity, urbanization and the growth of fashion went hand in hand'. Simmel and Weber characterize modernity as 'a decisive break with the past -from rural tradition and stasis -to urban change fragmentation and mobility' (Wilson 1985). ...
... The dominant political discourse is about choice and individualism, yet this is an illusion; 'the more our society talks about the individual and individualism, the more alike we all seem to become' (Wilson 1985). The myth of choice instead creates a position where 'individuals in the current era of mass-individualization have not been empowered' (Wilson 1985). ...
... The dominant political discourse is about choice and individualism, yet this is an illusion; 'the more our society talks about the individual and individualism, the more alike we all seem to become' (Wilson 1985). The myth of choice instead creates a position where 'individuals in the current era of mass-individualization have not been empowered' (Wilson 1985). Yet the promise of the new continues to generate increasing sales, from increasingly diminishing resources. ...
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Some 900 years ago, an extraordinary occurrence is said to have taken place on market day in the English Midlands town of Coventry; a noble lady rode through the town, on horseback, adorned solely by her hair, which was long enough to ensure her modesty. The apparent outcome of this spectacle was the rescinding of a repressive tax on the city’s citizens, whom Lady Godiva sought to support. Whether this is fact or fable, fashion, as city spectacle has long held cultural and political significance; an emotive force, it affects those directly involved and a wider society. Whilst a longstanding citizen of London, a megacity recognized throughout the world as a site of fashion creation and public performance, my intrigue in fashion as a city spectacle dates from my childhood in a small village. Insights came monthly, delivered by post, in the form of a bunch of pages in landscape format, stapled together to form iD magazine, capturing images of fashion’s everyday spectacles on its streets: the shapes, forms and encounters of time, place and culture. This arresting visual commentary shared the concerns, allegiances, excitements and anger felt by the city at that time. Fashion evidenced more than what people were wearing: it also made clear what they were thinking and feeling, representing those who felt unrepresented elsewhere. Since then, through my work as a designer, researcher and educator, I have sought ways in which fashion’s ability to give voice to the unrepresented and the unspoken, and its ability to celebrate all that our shared planet and shared humanity offers, can become an intrinsic part of fashion’s design.
... Em outras palavras, pode-se dizer quem segundo a fala de nossa informante, o sucesso de tais coleções está condicionado à existência da tensão que havíamos comentado anteriormente, entre a difusão e a restrição de seus produtos. Dito isso, o primeiro conjunto de acontecimentos que destacaremos são considerados por autores como Lipovetsky (1991), Laver (2002), Wilson (2003) e Steele (1999) como primordiais não só para o desenvolvimento da alta costura como campo, mas para o nascimento da moda 32 enquanto maneira específica de organização das aparências, que 32 É importante a tentativa de elucidar a confusão entre a ideia de "traje", peça de roupa que serve para cobrir o corpo, e "moda". Enquanto a atividade de adornar, vestir e simbolizar o corpo é universal e varia de acordo com as diferentes culturas, épocas e regiões, a moda, por sua vez, não pertence a todas as épocas e civilizações (MICHETTI, 2015;LIPOVETSKY, 1991). ...
... As rotas comerciais entre a Europa e o resto do mundo nesse contexto influenciou a produção de manufaturados e firmou a fundação para a expansão da indústria têxtil, que por sua vez foi alimentada por inovações como a inserção da máquina de costura 34 , de tear e de fiar, assim como a aplicação de novas formas de tingimento de tecidos. Essas mudanças que fomentam a indústria de confecção são vistas majoritariamente na Inglaterra, que viveu por anos uma supremacia em relação à França no que diz respeito a esse setor (WILSON, 2003;PENDERGAST, 2004 Graças ao seu poder econômico, seu peso político e sua influência cultural, a França aparece como o arbitro as modas. Sua genialidade é que ela consegue fazer das ideias dos outros a sua própria e enviá-las de volta para seu país de origem, com o prestígio da moda francesa. ...
... Nesse contexto, outras duas personagens se destacam, a rainha Marie-Antoinette (1755-1793) e sua costureira oficial, Rose Bertin (1747-1813). Essa última, para Wilson (2003), ela é considerada a precursora dos costureiros do século XIX. Além disso, Boucher (2010, p.315) fala da formação da sociedade de salões e a adoção da língua francesa nos meios cultivados ocidentais e Ruppert et al (2007) também nos lembra sobre a concorrência da burguesia com a nobreza para instauração de novas práticas ligadas ao vestuário. ...
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Since 2004 there has been a specific movement in the fashion industry, which has been called collaborative collections. They consist of the punctual meeting between two segments, the luxury brand and the fast fashion brand, in the manufacture and sale of clothes. The pieces in a collaborative collection have the luxury label but are produced and sold by fast fashions in select stores, under the "democratization of fashion" speech. We have as objective the mapping of the alliance process between these two brands, regarding to their production strategies. To do so, we will start from the idea that such alliances are seen by consumers and publicized by the media as something improbable. We will argue that such an idea of improbability does not concern exactly the collection itself, but rather the fact that a luxury brand aligns with a fast fashion. We will bring the aspects that allow us to explain the reasons why luxury brands, even being clothing brands such as fast fashions are, have an image of difference and superiority. The guiding thread of the explanation will be how luxury brands have historically been constructed as isolated and different from other forms of clothing production, a process that originates in the foundation of haute couture. Paradoxically, we will use this same thread to prove our hypothesis, that the encounter between luxury brands and fast fashion, in fact, has nothing unusual. The demonstration of this point will focus on the fact that, despite reproducing its characteristic of difference, since it was created the production space of haute couture undergoes a continuous expansion, in which the griffe - signature of the couturier, which through symbolic transubstantiation transformed economically and symbolically a piece of clothing - began to be exploited commercially, aiming at the achievement of more economic profits. We will justify that this exploitation takes on new proportions in the globalization scenario, to the point of a change that we consider to be the great condition for something like collaborative collections: the transformation of the griffe into a product-qualifying name, which is protected by law and governed by market rules, i.e. in a brand. We will demonstrate through the concept of universe that once griffes become brands, they acquire an ambivalent character that allows them to act in the symbolic sphere (in reference to their griffe) and in the commercial and rationalized sphere (through their brand). That is why the performance of these brands today is in the tension between the reproduction of their image of restriction and their practice of diffusion of their products. Understanding this movement of brands, it is possible to understand why there is a general idea that encounters such as collaborative collections give us the impression that this is unlikely, even if luxury brands are increasingly associated with segments that are distant from the one that is proper, the clothing. Finally, we will draw from this some reflections on how feasible it would be to speak of a "democratization of fashion" in this sense.
... Each day as we dress and undress we attach and detach our bodies from clothes, as well as the expectations, dreams, and desires associated with those clothes. Drawing on the queer phenomenology of Sara Ahmed (2006aAhmed ( , 2006b, detachment is analysed as a central process in consumers' relationship with their clothing, as well as in the "fashion system" (Wilson 1985;Crane 2000;Entwistle 2000;Breward 2004). ...
... Fashion builds on the constant tension between surface and depth. It has been theorized through its relation to time or zeitgeist, as well as to cycles (Veblen 1899;Simmel 1904;Wilson 1985;Lipovetsky 1994;Gregson, Brooks, and Crewe 2001). The logic of fashion is change and the constant movement of styles, garments, and seasonal changes leads to speed-related terms such as fast fashion and slow fashion, suggestive of, as Walther Benjamin put it, "a leap into the past to create an ever-changing present" (see Lehmann 2000, 174f). ...
... However, embracing the new always involves some form of detachment from the old, be it styles, garments, or even social roles. Central in theorizations of fashion is its relation with social mobility (Wilson 1985;Crane 2000;Entwistle 2000;Breward 2004). Adorning the body and investment in beauty has let, or at least promised, individualswomen in particular to leave their social background behind (Gundle and Castelli 2006). ...
... "Fashion speaks a tension between the crowd and the individual at every stage in the development of the nineteenth and twentieth century metropolis." ( [1], p.11) ...
... It is temporally and situationally dependent, as are the emotions we experience in relation to them. Our bodies, our minds and our language change in sync with technological fashions [1]. Wilson [1] goes on to mention that, "[f]ashion parodies itself" (p. ...
... Our bodies, our minds and our language change in sync with technological fashions [1]. Wilson [1] goes on to mention that, "[f]ashion parodies itself" (p. 10). ...
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Technology designers and developers can be understood as social experience (SE) mediators. In user experience (UX), notions of SE have served to identify and define the factors contributing to human-technology interaction (HTI). Three dominant perspectives have been promoted in UX discourse: 1) SE of brand, brand value and consumer culture; 2) technology design as mediator of human-to-human interactions; and 3) meaning generation through action and interaction between actors. Symbolic interactionalism understands meaning as occurring through dialogue, in the construction of the social self, promoting self-reflection as a social construction. This theorisation of social experience is valuable in the context of HTI as it allows for greater insight into the immaterial dimensions of technology integration in human societies. The purpose of this paper is to break down the factors contributing to social emotional experience of technology through illustrating how it operates according to fashion – temporality and spatiality in culture. This is a theoretical paper that presents a review of social experience, social emotional and collective emotion based literature in light of fashion and design. The result is a presentation of a proposed fashion framework of social emotions in technology interaction design (FASHEM). Based on symbolic interactionism, FASHEM helps break down emotional technology experience into a matrix of self, other, design, and semiotic interactions.
... The theoretical references used mainly are the ideas of Wolf (2017) to interpret beauty in various contexts, as well as the meaning of beauty in colonial and market discourse according to Priyatna (2018b). The issue of consumer culture is further discussed with the rationale of Wilson (1985) and Bowlby (1993). The results showed that: (1) in accordance with Wolf's ideas, the forms of beauty myths revealed in the novel included moving in the areas of work, culture, and sexuality. ...
... Referensi teoritis yang digunakan terutama adalah gagasan Wolf (2017) untuk menafsir kecantikan dalam berbagai konteks, serta makna kecantikan dalam wacana kolonial dan pasar menurut Priyatna (2018b). Isu budaya konsumen selanjutnya dibahas dengan landasan pemikiran dari Wilson (1985) dan Bowlby (1993). Hasil penelitian menunjukkan bahwa: (1) sesuai dengan gagasan Wolf, bentuk-bentuk mitos kecantikan yang terungkap dalam novel tersebut bergerak dalam wilayah pekerjaan, kultur, dan seksualitas. ...
... Fashion is an innovative and inclusive activity in which exploiting the temporal dimensions is the key to fashion thinking. In the first place, fashion represents ideas, desires, and beliefs circulating in society [18] and, as Blumer [6] states, "presupposes that the area is in passage, responding to changes taking place in a surrounding world" and thus, is open to new social forms (p. 286). ...
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Designing intelligent technologies is a multidisciplinary process. From this perspective, fashion has continued to be an under explored dimension of technology design. While there persistently are connections between the term fashion and the clothing design industry, an historical and sociological approach to fashion reveals a much deeper and permeating understanding of the notion and its implications across the technological world. During recent popular developments, the interrelationship between fashion as a concept and technology as components and proponents of fashion – technology as fashion promoter (think of Tiktok, Instagram, Facebook and even LinkedIn for example), and technology as fashion constituent, come to light. To stand back from social media and examine not only technology branding and culture building as seen in Apple and Google for instance, but also user interface design, system logic and algorithms as constituents of fashion, a more profound comprehension of the interplay between culture, technology, emotions and cognition may be developed. This paper seeks to lay the grounding of a semiotic, social-experiential understanding of fashion as technology. It draws on recent technological examples, which are then enriched with theory from fashion research and cognition and provides insight for how fashion thinking can enrich the design of intelligent technology.
... Creativity in fashion industry has an additional requirement -to create value (Csikszentmihalyi, 2013), simultaneously suggesting a desire and willingness to change (Kawamura, 2005;Wilson, 2013). Fashion industry would hardly be imaginable without this ambition because the people's wish to change creates usefulness of fashion industry, i.e., fashion satisfies the desire it generates. ...
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The article investigates the attitude of fashion industry managers towards creativity competence and its application in the fashion retail industry. The semi-structured interviews with middle managers allowed distinguishing three categories of activities. In the fashion retail industry, managers need creativity competence: performing technical assignments, working with clients, and working with staff members. For this research, middle managers were chosen because they are the mediators between the company’s general managers and the sales-men. Middle managers play an essential role in bringing organization’s culture, organizing sales-men’s work, and personal development. Therefore, creativity is crucial for managers to have in mind, as the fashion industry is fast changing and dynamic. Creativity competence is effective in a team only if there is proper communication of a manager who can assure all team members understand the organization’s primary purposes and values. The research revealed that managers apply various methods for promoting creativity that includes verbal interactions: discussions, delegating responsibility or tasks, sales promotion games, accumulation and systemization of information, sharing within social networks, provision of feedback, and encouragement of independent search for solutions. This study’s results can help develop job descriptions that would attract the right employees to fashion sales. Understanding the importance of creativity in a salesperson’s day-to-day work can help look at technical or repetitive work differently, increase sales staff’s motivation, and improve sales results.
... Clothes are a depiction of one's identity in the social structure and may have many undertones and associations (Harris, 1995). Wilson also asserts that dress is an illustration of a multifaceted relationship between a person's choices and the social and cultural framework they live in (Wilson, 2003). This is particularly true for historical costumes which offer deep insights into the people who wore them and the possible reasons affecting their choices. ...
Article
It is a generally accepted view today that men and women are equals having equal rights. This was not an acceptable view a few centuries ago. Men were the bread earners and women were responsible for home and child care. As in other parts of the world of the eighteenth and nineteenth century, women of the western Indian state of Maharashtra were subjected to severe scrutiny and discipline where their behavior was concerned. A patriarchal society controlled several aspects of their lives including their marriageable age, their daily conduct, their clothing, even their sexuality. These rules were designed to restrict both their indoor as well as outdoor activities. In essence, all classes of women including women of regal and elite families were constrained to home and hearth. In that period of time, members of the elite class often commissioned portraits of the male members of their families. Paintings of female members of such families are rare. Among the artefacts in the collection of the Peshwe Museum in Pune, India, a painting of an unidentified young girl is displayed. With a wide-ranging background of the societal and traditional norms of the eighteenth and nineteenth century Maharashtra, the present study aims to examine this portrait through the lenses of household norms, social customs and pecuniary background of the female subject. A combination of semiotics, visual rhetoric and interpretative qualitative analysis of the observations is used as the methodology for carrying out visual analysis of the image.
... Women responsibility to look after her children and family is one of the major concerns (Mary Wentling, 2003). Their caring responsibilities at home including children and elderly relatives (Sargeant, 2001) unavoidably creates a restrictive impact in their way to development (Sargeant, 2001;Wilson, 2003). Relating to external pressures one of the biggest pressures a woman faces and is aware of is prevailed gender culture at work (Lemons, 2003;. ...
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Logically it is assumed that society is man-made. Practically men have been considered as one of the dominant force in developing and shaping social institutions as well public life whereby women dominate in shaping family life. In the context of Pakistan which still have traces of world's oldest cultural society, men are assumed as wage earners whereas women are assumed as family care takers. Thus in this cultural context the current study intends to explore which sort of pressures a married working women face and what sort of coping mechanism has been adopted by them to deal with these pressures. The current study utilized qualitative approach as it best serve the purpose of study which was intended to explore challenges as well experiences faced by married working women. In order to understand the subjective explanations, Interpretative Phenomenological Analysis (IPA) rooted in phenomenological philosophy was carried out. This method allows understanding the lived experiences of the participants from their (participants) perspective. The target of the study was married working women thus the study employed purposive sampling technique to select out study participants. The sample consisted of 118 participants holding prominent positions who were interviewed (semi-structured) to generate their responses regarding challenges faced by them while performing multiple roles. The findings of current study can be concluded that despite facing external as well as internal family pressures, women in Pakistan wear a mask to comply with family and work requirements. In current social system, they sought numerous middle grounds to smoothen family as well work life.
... Fashion is a domain which is viewed to be oppressive, liberating, or both. Some scholars argue that fashion objectifies women (Wilson 2003), generates distorted self-perceptions (Hollander 1993), and creates an illusion of choice (Winship 1987). Others, however, perceive fashion as liberating and argue that playing with looks, styles, and meanings can generate feminine pleasure that goes beyond the reproduction of patriarchy (Scott 2006) and women can use their clothes in a variety of ways to subvert and resist the dominant power relations (Craik 2003). ...
Chapter
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Wearing nail polish is a contentious issue for practicing Muslim women. Because nail polish sets a permanent barrier between water and nail, performing wudu (a ritualized body cleansing procedure that every Muslim should undertake before salat—daily prayers) becomes problematic. In recent years, a new breathable line of nail polish, which allows water to penetrate the nail, became available. The so-called halal nail polish category generated not only interest but also a lively online debate. In this study, I use the controversy over the nail polish to interrogate the complex ways through which social, cultural, material, and religious interpretations of body intersect with marketplace dynamics and inform identities.
... Los velos, impuestos o adaptados, suscitan connotaciones de sumisión, pero también de empoderamiento, porque liberan a las mujeres que los llevan de las obligaciones insidiosas de la moda occidental, así como de apreciaciones sexuales consecuentes. Desacreditar el uso del velo o intentar legislar sobre la materia es un error fatal pero, al mismo tiempo, pone de manifiesto la apremiante necesidad de reflexionar sobre la posible coexistencia de diversas creencias en el mundo contemporáneo, sobre la hibridación cultural junto con los desacuerdos sobre el rol de la mujer (Wilson, 2003). ...
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Este trabajo se desprende de un seminario de investigación de Doctorado y su posterior artículo, centrado en reflexionar sobre la fugaz adopción del barbijo o tapabocas, en la vida cotidiana, como un medio, en los términos propuestos por Marshall McLuhan: todo medio es mensaje. En este sentido, el artículo pretende abordar las razones de su uso, la circulación de sentidos en la sociedad, así como los nuevos vínculos establecidos entre personas con renovadas significaciones del orden identitario. De esta forma, el cuerpo, los sentidos y la moda constituyen artilugios reconfigurados por este medio y permiten establecer comparaciones con otras culturas, como las orientales, respecto del uso tanto de velos, por aquellas musulmanas, islámicas y árabes, como de barbijos, implementados hace años por países como Japón.
... Fashion is modernity, it is about constant and successive change where the newest change always prevails, i.e., the most fashionable (Sullivan 2015;Polhemus 2011;Craik 2009;Nystrom 1928;Wilson 2003;Sapir 1931;Benjamin 2003;Hurlock 1929). Modernity can be understood in two ways: ...
Article
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Studies of cross-cultural luxury values perceptions (LVPs) emphasize the consideration of different cultures. This study argues that certain LVPs in the West and China deviate from Hofstede’s cultural dimensions. This study investigates the perception of four values: high social status, high quality, uniqueness and modernity. Drawing on explicit and implicit epithets of Martin and White’s Appraisal framework, the textual characteristics of the four values in parallel corpora: English 17,268 words and Chinese 19,103 words are examined against Hofstede’s cultural dimensions. Results caution against the generality of Hofstede’s finding and offer new insights into Chinese luxury marketing.
... Considerable evidence shows that women have long used the opportunities provided by clothes and adornment to push the boundaries of acceptable and respectable attire and, by extension, acceptable and respectable notions of womanhood (Crane 2000;Entwistle 2015;Lamm 2018;McCurn 2018). And yet, because of the tension between individual status claims and institutional constraints, gender scholarship is divided on matters of dress (Wilson 2005), with some scholars emphasizing oppression (Roberts 1977), others highlighting self-determination and liberation (Scott 2005), and yet others emphasizing that these two positions are not mutually exclusive, but instead take shape as women's dress interacts with the context in which it is presented (Churchill 2019;Patyk 2010). Such insights suggest that it is not possible to determine a priori if a particular set of clothes is subversive or oppressive, or if it expresses or challenges prevailing gender norms. ...
Article
In this paper we examine the dress of execution victims. Executions provide both the convict and the state with an opportunity to claim honor and respectability. Drawing on newspaper accounts of executions conducted between 1840 and 1940, we demonstrate that convict attire reveals an important tension between the convicts' gendered character claims and the efforts by execution managers to arrange a credible execution. But whereas displays of masculinity reinforce more than challenge the propriety of executions, women's femininity displays challenge not only the propriety of executions, but also the respectability of those tasked with their killing. We conclude that the subversive potential of clothing is found not only in the garments themselves, nor only on the wearers' intentions, but also on the institutional settings in which they are presented.
... When the clothes we put on graze the skin, passive touch sensations relayed to the brain contribute to the multisensory perception and evaluation [3,4] of our bodily experience of dress. Thus, touch sensation [5] is inseparable from our interaction with garmentsmaterial items intended to physically cover, protect, and adorn [6] our bodies. ...
Chapter
Touch is central to the embodied experience of material garments. Passive touch sensations convey how dress feels on the skin, and active touch ena-bles the perception and appreciation of its material properties, as the term “fabric hand” aptly implies. In fact, the subjectively perceived tactile at-tributes of materials have been described and categorized into ad-hoc lexi-cons by means of sensory evaluation research procedures involving both expert and non-expert panellists. These vocabularies provide a semantic framework for the description of garment materials from a consumer per-spective. Thus, they can also serve as an interpretative lens for how tactility is communicated to online viewers. However, a pragmatic, qualitative in-vestigation into a representative sample of popular fashion e-commerce websites indicates that references to touch within garment page descrip-tions are sparse. Given e-commerce’s relevance for fashion brands, improv-ing communication of touch in text presents opportunities.
... In all societies the body is ›dressed‹, and everywhere dress and adornment play symbolic, communicative and aesthetic roles. Dress is always ›unspeakably meaningful‹« (Wilson 2003: 2). ...
... The emergence of fashion as a cultural mode of modernity has been linked with the emergence of the modern individual, progress and a break from traditions (Simmel 1904;Wilson 1985). The absence of even the potential of the headscarf as an aesthetic object rests on an assumption that Balasescu convincingly argues against. ...
... Again, Fitzpatrick explores the relationship between fashion and identity with Adidas and hip hop culture. He corroborates Wilson (1985) description of this fashion as "oppositional dress". In this sense, fashion is used to oppose mainstream ideas, economy and opportunities. ...
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Constructions on the technique in which bodies are fashioned through clothes demonstrate the socially constructed nature of fashion. The article examined the embodied dimensions of meanings and functions paradigmatically expressed in fashion especially in Nigeria.
... This presentation momentarily challenged my sense of ontology, of who I was at the moment. It was evidence of Elizabeth Wilson's (2003) statement in Adorned in Dreams: "dress is the frontier between self and the not-self " (3). Are we what our bodies say about us or how we present our bodies? ...
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This article examines how the technical fit of a garment can affect an individual’s ability to fit in. It challenges the tool box used by practitioners working with anthropometric data (the surface measurements of the human body) and has produced new methods that are less reliant on published averages. Some of the article’s questions are: how does anthropometric data and the study of human anatomy influence notions of an ideal body? In what ways do anthropometric data and patternmaking principles include or exclude diverse body types? And what tools can be developed to assist designing for diverse bodies? The article takes a multi-method and multi-theory approach to the research and investigates concepts of fit through phenomenology, semiotics and anatomy. By exploring experimental methods in cut, it challenges the meaning of a key example of conservatism and uniformity in tailoring, the grey flannel suit, and reflects on the question, what is good fit?
... Under decennierna som följde blev glasarkitekturen tillämpad av rörelser som Bauhaus och kom att prägla allt från storstäders skyskrapor till visionära byggnationer som Buckminster Fullers geodetiska domer (Wilson 2003 Deras butiker kallades från och med 2018 för town squares i företagets PR: "We view our stores as a modern-day town square, where visitors come to shop, be inspired, learn or connect with others in their community" (Apple press release 2017), enligt Angela Ahrendt, Apples chef för detaljhandel, i samband med att de 2017 öppnade sin butik i Dubai. ...
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In almost every ad for job for female candidates, it is mentioned that required females are expected to have pleasing personality, good communication skills and well-groomed appearance which is quite contradictory with Islamic philosophy of disciplining female bodies as Islam discourages objectification of women. This paper is an attempt to explore the gendered discourses prevailing in various organizations to discipline female bodies into docile ones for sexual appeal in the organizations. The study is qualitative in nature. For data collection mixed method of interviews (n=100) and thematic analysis of job advertisement (n=100) is done. Foucault’s perspective of disciplining is used as theoretical framework for the study as it will help in drawing the difference between requirements for disciplining female bodies for job hunting vs. Islamic philosophy of disciplining female bodies in a Muslim country like Pakistan. Analysis of the data gathered by thematic analysis of advertisements and 100 interviews was conducted by coding the data into various themes. The study concludes that certain disciplinary techniques like no veil, heavy make over, trendy dresses, high heels are expected from females to be selected for the job which are contradictory with Islamic philosophy. Islam doesn’t restrict females from working but it wants them to be in proper fully covered dresses so that they may be respected. However, these organizations want to use females only as sex symbols. This practice should be condemned to provide women with an opportunity to make better use of their capabilities.
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This article explores the curious intersections of stoutwear design, Gestalt Psychology, and architectural discourse in early twentieth-century American fashion media. In doing so, it focuses principally on trade media, style guides and advertisements that grappled with the perceived flaws of the stout woman’s physique and how sophisticated design principles, if properly handled, could create the appearance of bodily slenderness. By moving beyond the biological determinism of contemporary obesity discourse, this article argues that ideas about stoutness and, more specifically, what constituted a stout body, were produced through attempts to contain, control, and correct the fat, female body in fashion design discourse. By further embedding this research within a broader consideration of the relationship between bodies, dress, architecture, and modernist design thinking, this article argues that the mediums and discourses of fashion can open up pathways for thinking about the body itself as “designed.”
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The manner in which people conceptualize and construct their social identities have changed during the course of post modern society. In essence the arguments and research around the concept of identity is that the firmly established, unified and essentially class based identities of the past are declining and giving rise to new identities which are fragmented, dislocated and de-cantered. Instead of social class affiliation, lifestyles which are manifested through consumption of cultural goods such as clothing, furniture, residential settings, holidays etc. perform an increasingly important role in identity formation. It is consumption behaviour rather than economic status through which social identities are increasingly formed. The disjunction between economy and consumption is also reflected between work and leisure. As Bell (1982) indicates people construct their identities differently in the workplace as a basis of their profession as compared with spaces occupied in their leisure time. Leisure practices including consumption attitudes, become more important locators of social identity. This study, within the recent theoretical framework on cultures, lifestyles and identity formation, explores whether and how life styles manifested through consumption of clothing plays a role in identity formation among professional business women in İstanbul and İzmir. As such, a survey analysis based on a detailed questioner is conducted among the business women to assess our hypothesis that leisure is an important area when one can develop a sense of personal and social identity.
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The recent increase in share of hijab clothing in the global market is a indicator of transforming of the traditional dress code of conservative women to the hijab fashion. However fashion, which develops with the modernization process, bears a deeper meaning, beyond being a style of clothing, that reveals the changes in the mentality of the individual. In this context, this study focuses on hijab becoming a matter of modernization through fashion, and the distance between conservative women and the religious. The aim was to determine the trend of secularization through fashion by examining the transformations in hijab clothing. A qualitative research method was preferred for this purpose through in-depth interviews with 20 people in Asmin Fest, Zeruj Fest, and Zeruj Shopping Center. The acquired data were subjected to descriptive analysis using MAXQDA analysis program. Findings of this study indicate that fashion is being perceived as a determining factor of the modern lifestyle among conservative women, and an increasingly distancing from the traditional religious ties of previous generations. Replacement of religious concerns by inquietude about appearance along with establishment of consumption culture in the center may cause the adoption of modern interpretations of hijab. This result supports that conservative women tend to become secular in terms of hijab.
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Fashion items and artefacts across the 19th and 20th centuries were once considered unworthy of placement in museums and archives on account of their perishable nature and their association with the shallow pleasures of low culture. The perceived fragile and ephemeral nature of fashion garments and accessories has been re-evaluated with material objects now considered worth saving for multiple purposes and uses. Awareness of the high social, cultural, economic, and historic value of physical fashion relics has resulted in the trend for fashion designers, brands, and museums to collate, create, and manage fashion archives. The article analyses the importance for both industry and consumer of preserving and accessing fashion archives in the 21st century in both digital and traditional ways. It highlights the benefits of collating a holistic multi-modal archive by combining material and textual cultural objects in various forms to portray and contextualize the lived social experience. A case study will analyse a selected educational fashion archive based in postcolonial Hong Kong. The contemporary fashion archive’s role is evaluated from the perspective of archivist and user regarding contested issues such as commercialization, curatorial objectivity, or controlled access, while evaluating future directions for the fashion archive as ultimate style repository.
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This article considers how entrepreneurs’ fashion themselves as founders. Based on ethnographic research conducted in Australia, we discuss whether the informal dress codes of the startup world neutralize gender differences. Our findings suggest that informal dress codes reinforce the normative positionality of men as archetypal entrepreneurial actors. They re‐inscribe gendered hierarchies that affect the everyday entrepreneurial experience, and extend distinctly different allowances for nonconformity and unconventionality to men and women. Founders attempt to inhabit these gendered inequalities, performing a kind of aesthetic labor that mobilizes their appearances to play into as well as counter the gendered expectations of the ecosystem and extract value from their personal and professional fashioning. This article is protected by copyright. All rights reserved.
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Stranger Things, with its extensive references to 1980s culture, could be considered a true repertory of that decade. The show’s nostalgic aesthetics and mood has secured the attention of Generation X and encouraged a contemporary retrieval and revival of pop texts, fashion and music from the period.
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This chapter addresses the key theme of fashion as image and presents a brief discussion on the changing world of the fashion photograph. It then turns to the question of what a fashion photograph is—a question, it turns out, that has no simple answer. The chapter delves further into understanding the fashion photograph. It explores how fashion works in the street style fashion photography blog. The 1990s stand out as a breakthrough moment for fashion photography, with work that genuinely broke new ground and permanently changed the notion of what a fashion photograph could be. If contemporary art photography reflected the sheen and glamor of the fashion image, fashion photography increasingly looked beyond the hermetic world of fashion, engaging with and explicitly referring to broader social and cultural issues, as well as turning a critical eye upon itself and its subject matter.
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