Judith Beyer – författare

Practices of Traditionalization in Central Asia focuses on how tradition is ‘everyday-ified’ in contemporary Central Asia, including Tatarstan and Tibet, and what people seek to achieve in its name. The case studies range from political demonstrations and industrial workers’ gatherings to institutions of religious education, minority communities, weddings, and the Internet.

In this volume we regard tradition as a practice that needs to be explored in its institutional and interactional context at a particular time, rather than as a reliable guide to the past: tradition can only be judged from the present; it is an interpretative concept, not a descriptive one. While the scholarly debate has so far centered on what tradition entails and what it does not, including the question of invention and ownership, less attention has been devoted to investigating how tradition is enacted, enforced, or motivated – in short, how it ‘gets done.’ In Central Asia, practices of traditionalization are closely related to the transformation of the socialist order and the emergence of highly stratified societies. This volume asks: When does tradition emerge as a line of argumentation, who are the actors invoking it and how is it being (materially) manifested?

Practices of Traditionalization in Central Asia will be of great interest to scholars of Central Asia, Anthropology, History, Political Science, and Sociology. The chapters were originally published as a special issue of Central Asian Survey.

Practices of Traditionalization in Central Asia focuses on how tradition is ‘everyday-ified’ in contemporary Central Asia, including Tatarstan and Tibet, and what people seek to achieve in its name. The case studies range from political demonstrations and industrial workers’ gatherings to institutions of religious education, minority communities, weddings, and the Internet.

In this volume we regard tradition as a practice that needs to be explored in its institutional and interactional context at a particular time, rather than as a reliable guide to the past: tradition can only be judged from the present; it is an interpretative concept, not a descriptive one. While the scholarly debate has so far centered on what tradition entails and what it does not, including the question of invention and ownership, less attention has been devoted to investigating how tradition is enacted, enforced, or motivated – in short, how it ‘gets done.’ In Central Asia, practices of traditionalization are closely related to the transformation of the socialist order and the emergence of highly stratified societies. This volume asks: When does tradition emerge as a line of argumentation, who are the actors invoking it and how is it being (materially) manifested?

Practices of Traditionalization in Central Asia will be of great interest to scholars of Central Asia, Anthropology, History, Political Science, and Sociology. The chapters were originally published as a special issue of Central Asian Survey.

Before Alessandro Michele took the creative helm at Gucci in 2015, the brand was mostly known for its sleek sophistication and sexy hedonism. Despite having worked at the Italian fashion house for over twelve years as the accessories and jewellery designer, Michele was relatively unknown in the fashion industry and the public sphere. All of that was to change when he sent his models down the runway for the 2015 Fall/Winter ready-to-wear collection in an eclectic mix of pussy-bow blouses, chiffon dresses, wallpaper prints and a motley collection of accessories, including fur-lined loafers, berets and granny-style horn-rimmed glasses. Michele’s stylistic design approach created an aesthetic reminiscent of the fashion eccentric who wears flea market finds with high-end designer and heirloom pieces – imperfect, nostalgic and maximalist. The new Gucci woman (and man) were intellectual and sensual misfits who are perfectly at home in the glamourous rag-tag aesthetic of a Wes Anderson film.With his inaugurate collection, Michele tapped into the zeitgeist that was yearning for a more colourful and playful design, and a disregard of traditional gender divisions: while Gucci has hitherto showcased its men’s and women’s collections separately, as well as favoured traditional masculine and feminine looks respectively, Michele broke with the idea of a gender binary, ushering in gender fluidity and a new fantastical vision of masculinity.Although his collections were spectacular in their scope (the Fall/Winter 2017 consists of roughly 120 looks), the designs are also a testimony to his ability to scramble signifiers of gender, pop culture, history and time. Referencing and borrowing from philosophical concepts and ideas, such as the infamous Cyborg collection (Gucci Fall/Winter 2019) that envisioned subjectivities beyond the confines of the human body with replica heads or extra eyes on their hands; the Fall/Winter 2016 collection titled ‘Rhizomatic Scores’, referencing Deleuze and Guattari’s influential concept; or the Fall/Winter 2020 menswear collection titled ‘Masculine, Plural’ that referenced Butler’s notion of gender performativity, Michele exemplifies a fashion auteur who knows how to play not only with gender signifiers but also with signifiers of time, culture and species.