Hazel Clark - Böcker

Fashion is both public and private, material and symbolic, always caught within the lived experience and providing an incredible tool to study culture and history. The Fabric of Cultures examines the impact of fashion as a manufacturing industry and as a culture industry that shapes the identities of nations and cities in a cross-cultural perspective, within a global framework. The collected essays investigate local and global economies, cultures and identities and the book offers for the first time, a wide spectrum of case studies which focus on a diversity of geographical spaces and places, from global capitals of fashion such as New York, to countries less known or identifiable for fashion such as contemporary Greece and soviet Russia. Highly illustrated and including essays from all over the world, The Fabric of Cultures provides a comprehensive survey of the latest interdisciplinary scholarship on fashion, identity and globalisation.

Fashion is both public and private, material and symbolic, always caught within the lived experience and providing an incredible tool to study culture and history. The Fabric of Cultures examines the impact of fashion as a manufacturing industry and as a culture industry that shapes the identities of nations and cities in a cross-cultural perspective, within a global framework. The collected essays investigate local and global economies, cultures and identities and the book offers for the first time, a wide spectrum of case studies which focus on a diversity of geographical spaces and places, from global capitals of fashion such as New York, to countries less known or identifiable for fashion such as contemporary Greece and soviet Russia. Highly illustrated and including essays from all over the world, The Fabric of Cultures provides a comprehensive survey of the latest interdisciplinary scholarship on fashion, identity and globalisation.

In recent years, the study of textiles and culture has become a dynamic field of scholarship, reflecting new global, material and technological possibilities. This is the first handbook of specially commissioned essays to provide a guide to the major strands of critical work around textiles past and present and to draw upon the work of artists and designers as well as researchers in textiles studies.The handbook offers an authoritative and wide-ranging guide to the topics, issues, and questions that are central to the study of textiles today: it examines how material practices reflect cross-cultural influences; it explores textiles' relationships to history, memory, place, and social and technological change; and considers their influence on fashion and design, sustainable production, craft, architecture, curation and contemporary textile art practice.This illustrated volume will be essential reading for students and scholars involved in research on textiles and related subjects such as dress, costume and fashion, feminism and gender, art and design, and cultural history.Cover image: Anne Wilson, To Cross (Walking New York), 2014. Site-specific performance and sculpture at The Drawing Center, NYC. Thread cross research. Photo: Christie Carlson/Anne Wilson Studio.

As the practice of fashion curation extends into commercial galleries, public and retail spaces, and even to the individual self, professional concepts of 'curating' are undergoing rapid change. Today, everyone is seemingly able to 'curate', but where does this leave the traditional understanding of curation as clothing collected and displayed in a museum? This thought-provoking volume explores the practice of fashion curating in the 21st century, bridging the gap between methods of display and notions of 'the curatorial' in fashion exhibitions, commercial settings, and the virtual world.From fashion’s earliest forays into the museum to creative collaborations between luxury fashion brands and artists, this book challenges understandings of fashion curation by drawing on the palpably new spaces, places, and actors in today’s curating scene. Exploring poetic and performative museum displays in venues such as the V&A, Somerset House, MoMu and the Royal Ontario Museum, alongside the ways that brands such as Dior, Chanel and Louis Vuitton have made use of 'the curatorial' in their own commercial strategies, Fashion Curating asks pressing questions about controversial funding and collaboration from the commercial fashion sector, and the limitations of producing exhibitions that are at the same time critical and popular. Bringing together approaches from fashion curators, designers and world-renowned academics, curation is positioned as a critical practice that opens up new ways of conceptualizing and theorizing fashion, challenging how we think and what we already know.

What if we took 'slow' as an ethical strategy and practice for fashion, rather than considering ‘slow fashion’ as another passing fashion movement? Part of the Fashion in Action series of short books on global issues in fashion, calling on readers to become active participants in its future, Hazel Clark explores fashion's cultural role as a potential force for, not against, sustainability. Against a backdrop of massive waste, intensive energy use, human exploitation and over-consumption of fast fashion, Slow offers a thoughtful, practical, sustainable approach to fashion for businesses, educators and ordinary wearers of clothes, speaking to more mindful, caring and humanitarian attitudes and practices.Divided into 3 sections, the argument is framed by neoliberalism, and the increased attention to fashion around the globe, set alongside growing interest in eco design, the slow food movement, second hand clothes and the emergence of ethical brands. The book begins with ‘where we are now,’ focussing on the emergence and huge impact of fast fashion. The next section looks at the way a slow discourse developed for fashion – in practice, in academia and in public. More mindful and slow approaches are set against greater global connectivity, digital communications, climate change and activism. This leads to a third and final section which seeks for a redefinition of fashion through the lens of slow approaches, ending with an urgent call to action. With references to good fashion practices and ideas from around the globe throughout, this book offers real guidance, and, crucially, advocates that real engagement with a 'slow' approach to fashion offers a more sustainable future for all.

What is cultural appropriation in fashion and how can understanding its causes, consequences and reoccurrences help us to challenge it in the future? As part of the Fashion in Action series of short books aimed at rallying readers on global issues in fashion, Benjamin Linley Wild highlights the long and complicated history of appropriation, guiding us on the pressing question of where we go next.Chapter one considers where we have been - what are the words we have used and what theories continue to frame and potentially hinder discussions about appropriation within the fashion industry? Chapter two moves on to where we are now - what does appropriation look like in the fashion industry and how can understanding this help both educators and consumers overcome the circularity of the current debates? Chapter three draws together the theories and their potential implications to unravel the riddle of appropriation and enable us to look to the future with suggested calls for action.This timely book equips readers with the tools to navigate and reshape the conversation around cultural appropriation, encouraging meaningful action for a more conscious and inclusive fashion industry.

An original contribution to fashion studies, Fashion in American Life challenges existing approaches to fashion in America by considering who ‘makes’ fashion—when, where, and how. Avoiding the usual emphasis on the ‘history of fashion’ which perpetuates the myth of fashion designers, and New York, as the originators of American fashion, this exploration of the everyday allows us to see American fashion as a form of agency, self-identification, creative engagement, and politics.Moving away from the well-trodden accounts of fashion designers and the dominance of New York, much of the fashion uncovered has been under-represented in previous accounts. Through contemporary and historical research, authors challenge the nature of both ‘fashion’ and ‘America’ by addressing the many complexities of a nation whose people have diverse histories and cultures, including stories and experiences that have been forgotten, marginalized and left out of the fashion ‘canon’.Race, gender, ethnicity, and class are employed as critical lenses to shed new light on how fashion might be defined and addressed within America (as a country, but not as a series of United States), with case studies looking at First Nations, Latinx and African American dress. The intellectual framing of the volume, and the methods and case studies included, also present tactics that can be applied to other contexts, making this book about revisiting ‘fashion’ more widely, not just in America. Fashion in American Life makes a unique contribution to the literature of fashion studies, fashion history, cultural studies, and beyond.

An original contribution to fashion studies, Fashion in American Life challenges existing approaches to fashion in America by considering who ‘makes’ fashion—when, where, and how. Avoiding the usual emphasis on the ‘history of fashion’ which perpetuates the myth of fashion designers, and New York, as the originators of American fashion, this exploration of the everyday allows us to see American fashion as a form of agency, self-identification, creative engagement, and politics.Moving away from the well-trodden accounts of fashion designers and the dominance of New York, much of the fashion uncovered has been under-represented in previous accounts. Through contemporary and historical research, authors challenge the nature of both ‘fashion’ and ‘America’ by addressing the many complexities of a nation whose people have diverse histories and cultures, including stories and experiences that have been forgotten, marginalized and left out of the fashion ‘canon’.Race, gender, ethnicity, and class are employed as critical lenses to shed new light on how fashion might be defined and addressed within America (as a country, but not as a series of United States), with case studies looking at First Nations, Latinx and African American dress. The intellectual framing of the volume, and the methods and case studies included, also present tactics that can be applied to other contexts, making this book about revisiting ‘fashion’ more widely, not just in America. Fashion in American Life makes a unique contribution to the literature of fashion studies, fashion history, cultural studies, and beyond.

Fashion thrives on fame and success, capitalism and culture. But beneath the luster and hype, fashion is also inevitably about failure – an essential part of its history and evolution. In his contribution to the Fashion in Action series of short books rallying readers to tackle pressing issues in fashion, Nick Rees-Roberts unravels the relationship between forms of creative and commercial failure to consider how we might begin to address the systemic failings of the fashion industry today. Positing failure as a speculative way to rethink fashion and focussing on the checkered histories of a number of designers and brands, Rees-Roberts explores how forms of commercial failure within a capitalist framework might actually be productive, enabling designers to retain independence and balance by potentially opting out of the fashion establishment, if not of the system altogether. He then goes on to look at the broader systemic failures of the 21st-century fashion industry, arguing that rather than keep focussing on doing and making, we should be undoing and remaking the idea of fashion itself in order to rethink design outside of the framework of a hyper-globalized industry.By applying failure as a critical mode of inquiry, this book invites readers to consider a new direction for the future of fashion – one that values resilience and reinvention over the relentless pursuit of the next big success.

The fashion industry has long exploited animals for their materials, whether fur, leather, silk, wool or feathers – so how can we find other ways of working with, or without, animals in the production of clothing? This volume in the Fashion in Action series of short books, which champion change on global issues in fashion, introduces and challenges our problematic reliance on animal products in fashion, calling for more caring practices that work towards post-animal fashion.Simona Segre-Reinach argues that fashion, with its far-reaching influence and power to communicate, can lead other industries toward genuinely inclusive sustainability. Divided into three sections, the book first looks at the fashion system’s entrenched use of animal-based materials in garment production. Section two explores pathways to kinder, next-generation materials that break away from animal exploitation. The final section advocates for a complete reimagining of fashion through a lens of empathy and respect for all beings.Featuring practices and ideas from around the globe and with views from philosophers, animal rights activists, scientists and artists intersecting with designers, stylists, companies and consumers, this book inspires a shift towards a sustainable future that respects life in all its forms.

Design Studies: A Reader is the ideal entry point for any student who wants to understand the many complex roles of design - as process, product, function, symbol, and use. Reflecting the diverse range of perspectives on design, the reader brings together over seventy key texts. The essays are presented in themed sections covering history, methods, theory, visuality, identity, consumption, labor, industrialization, new technology, sustainability, and globalization. Each section is separately introduced and each concludes with a guide to further reading. In addition, a final section of specially commissioned essays analyzes ten seminal designs of the twentieth century, from Helvetica to the cell phone. Bringing together the best classic and contemporary writing, Design Studies: A Reader will be invaluable to all students of Design as well as to students of Architecture, Art, Material Culture, and Sociology.Authors include: Theodor Adorno, Arjun Appadurai, Reyner Banham, Jean Baudrillard, Zygmunt Bauman, Pierre Bourdieu, Cheryl Buckley, Michel de Certeau, Margaret Crawford, Arthur C Danto, Adrian Forty, Michel Foucault, Buckminster Fuller, Paul du Gay, Erving Goffman, Donna Haraway, Dick Hebdige, John Chris Jones, Guy Julier, Naomi Klein, Ezio Manzini, Victor Margolin, Karl Marx, Daniel Miller, Victor Papanek, Nikolaus Pevsner, John Styles, and John Walker.

Taking cultural theorist Michel de Certeau’s notion of ‘the everyday’ as a critical starting point, this book considers how fashion shapes and is shaped by everyday life. Looking historically for the imprint of fashion within everyday routines such as going to work or shopping, or in leisure activities like dancing, the book identifies the ‘fashion system of the ordinary’, in which clothing has a distinct role in the making of self and identity. Exploring the period from 1890 to 2010, the study is located in London and New York, cities that emerged as as socially, ethnically and culturally diverse, as well as increasingly fashionable. The book re-focuses fashion discourse away from well-trodden, power-laden dynamics, towards a re-evaluation of time, memory, and above all history, and their relationship to fashion and everyday life. The importance of place and space - and issues of gender, race and social class - provides the broader framework, revealing fashion as both routine and exceptional, and as an increasingly significant part of urban life. By focusing on key themes such as clothing the city, what is worn on the streets, the imagining and performing of multiple identities by dressing up and down, going out, and showing off, Fashion and Everyday Life makes a unique contribution to the literature of fashion studies, fashion history, cultural studies, and beyond.

Taking cultural theorist Michel de Certeau’s notion of ‘the everyday’ as a critical starting point, this book considers how fashion shapes and is shaped by everyday life. Looking historically for the imprint of fashion within everyday routines such as going to work or shopping, or in leisure activities like dancing, the book identifies the ‘fashion system of the ordinary’, in which clothing has a distinct role in the making of self and identity. Exploring the period from 1890 to 2010, the study is located in London and New York, cities that emerged as as socially, ethnically and culturally diverse, as well as increasingly fashionable. The book re-focuses fashion discourse away from well-trodden, power-laden dynamics, towards a re-evaluation of time, memory, and above all history, and their relationship to fashion and everyday life. The importance of place and space - and issues of gender, race and social class - provides the broader framework, revealing fashion as both routine and exceptional, and as an increasingly significant part of urban life. By focusing on key themes such as clothing the city, what is worn on the streets, the imagining and performing of multiple identities by dressing up and down, going out, and showing off, Fashion and Everyday Life makes a unique contribution to the literature of fashion studies, fashion history, cultural studies, and beyond.

Recent interest in 'vintage' and second hand clothes by both fashion consumers and designers is only the latest manifestation of a long and complex cultural history of wearing and trading second hand clothes. With its origins in necessity, the passing of clothes between social and economic groups is now a global business, but with roots that are centuries old. To move from one social and cultural situation to another used clothes must be 'transformed' to become of potential value to a new social group. How, when and why this has happened is the subject of this book. Old Clothes, New Looks presents a three-part focus on the history, the trading culture, and the contemporary refashioning of second hand clothing. Historical perspectives include studies located in Renaissance Florence, early industrial England, colonial Australia, and mid twentieth-century Ireland. The global nature of the second hand trade in clothing is presented through original research from Zambia, India, the Philippines, Hong Kong, and Japan.The reuse of garments as contemporary fashion statements is explored through studies that include neo-mod retro-sixties subculture in Germany, the impact of 'vintage' in the USA on consumers and designers, as well as consideration of its sartorial and cultural challenges, encapsulated by the work of designer XULY.Bet. This groundbreaking book will be essential reading for all those interested in fashion and dress, material culture, consumption and anthropology, as well as to dealers, collectors and wearers of second hand clothes.