Podcasts about Fashion theory

She is SO back! This week we're welcoming in 2025 and the return of the Daydream and Listen podcast! It's been a hot minute since I last put out an episode, but I am committed to speaking on the mic for weekly chats about fashion, being a 20-something girly, and any other trending topic I have on my mind. For the return episode, I decided to discuss a topic that has been living rent-free in my mind for the past week or so. That topic is the latest developments in counterfeit designer goods. In this episode, I discuss things like the Walmart Birkin saga, the rise of "The Little Yellow App"––otherwise known as DHGate, and some influencer drama revolving around fake designer items. If you're interested in reading more about this topic, head over to my Substack for a written analysis of this week's discussion!Follow me on InstagramFollow me on TikTok 

Attention all you macaroni boys and genderful twinks! Asho joins Haley for a series of ads written by self-acclaimed androgynous lovers. Do you dream of tossing a salad with a cute “she-boy” or maintaining eye contact all the way “through”? Catch these ads before another 30 years passes! Follow Asho on Instagram at @Asho_Buckingham to view & purchase their incredible art!Listen to us on Spotify, Stitcher, Apple Podcast, or wherever you listen to your tunes!Interested in being on the show? Contact us at Q4QPodcast@gmail.com or find us on Twitter @Queerpersonals and Instagram @Queerpersonalspodcast.Cover art by Bekah Rich. Music by Kaz Zabala.Sources: Online Etymology Dictionary, accessed December 2023The Her app slang glossaryLGBTQ fandom Wiki pageMcNeil, Peter (1999-11-01). ""That Doubtful Gender": Macaroni Dress and Male Sexualities". Fashion Theory. 3 (4): 412. doi:10.2752/136270499779476081. ISSN 1362-704X. Fisher, Harriet (2015-01-19). "The Queen of Androgyny – Marlene Dietrich". Barnebys. Archived from the original on 2016-06-16. Retrieved 2016-05-22.Ads: LA Weekly (Los Angeles, CA) 1995 October 10 - Accessed from @LongLostPersonalsFocus Point (Minneapolis, Minnesota), 1994 November 17 Outweek (NYC) 12 Nov 1989Outweek (NYC) 11 July 1990The San Francisco Bay times., Nov 1989Support the show

Tutti gli esseri umani – chi più, chi meno – si vestono. Come afferma l'antropologa Karen Tranberg Hansen vestiti e accessori sono per noi esseri umani una “pelle sociale” in grado di esercitare un'influenza considerevole nelle nostre interazioni e nella definizione della nostra identità. Di queste dinamiche si occupa l'antropologia della moda che osserva e interpreta i processi culturali inerenti alle pratiche vestimentarie analizzando i significati che le mode - il plurale è d'obbligo - hanno nelle società umane e aprendo una riflessione molto preziosa che riguarda in particolare il rapporto tra creatività, produzione e consumo. Illustrazione di copertina di Elisa Pavanello Sound Design di Stefano Cassese | ⁠Underground Studio⁠ Contatti: ⁠Instagram⁠ |⁠ Facebook⁠ |⁠ LinkedIn⁠ www.nomadismoprofessionale.it info@nomadismoprofessionale.it

Episode 14: Visible/Invisible In this final episode of Season 2, we re-think art historian Linda Nochlin's famous question “why have there been no great women artists?” through an intersectional lens that addresses work by women artists of colour. This episode examines co-host Madeline Collin's research on visibility, invisibility and marginalization in the work of contemporary artists. We talk about the politics of looking and how we might think about the gaze in the work of Kara Walker, Teresa Margolles, Ana Mendieta, and Mari Katayama. We also consider the notion of the absent body and its trace in several works of art.          Sources + further reading: “All That's Left: The Art of Teresa Margolles.” The Critical Flame. http://criticalflame.org/all-thats-left-the-art-of-teresa-margolles/. “Ana Mendieta - MoMA.” The Museum of Modern Art. https://www.moma.org/artists/3924. Burton, Laini, and Jana Melkumova-Reynolds. “‘My Leg Is a Giant Stiletto Heel': Fashioning the Prosthetised Body.” Fashion Theory 23, no. 2 (2019): 195–218. Campion, Chris. “Punk Prosthetics: The Mesmerising Art of Living Sculpture Mari Katayama.” The Guardian, March 6, 2017, sec. Art and design. https://www.theguardian.com/artanddesign/2017/mar/06/mari-katayama-japanese-artist-disabilities-interview. “Covered in Time and History: The Films of Ana Mendieta.” NSU Art Museum Fort Lauderdale. https://nsuartmuseum.org/exhibition/covered-in-time-and-history-the-films-of-ana-mendieta/. “‘Each Bubble Is a Body.' Teresa Margolles.” Seismopolite. http://www.seismopolite.com/each-bubble-is-a-body-teresa-margolles. “Kara Walker. Gone: An Historical Romance of a Civil War as It Occurred b'tween the Dusky Thighs of One Young Negress and Her Heart. 1994.” The Museum of Modern Art. https://www.moma.org/collection/works/110565. Matsumoto, Masanobu. “Meet the Rising Japanese Artist Who Uses Her Amputated Legs to Question What Is a ‘Correct Body.'” ARTnews.Com. April 27, 2022. https://www.artnews.com/art-news/artists/meet-japanese-artist-mari-katayama-1234626715/. McKeon, Lucy. “The Controversies of Kara Walker.” Hyperallergic. March 19, 2013. http://hyperallergic.com/67125/the-controversies-of-kara-walker/. Nochlin, Linda. “From 1971: Why Have There Been No Great Women Artists?” ARTnews.Com. May 30, 2015. https://www.artnews.com/art-news/retrospective/why-have-there-been-no-great-women-artists-4201/. “Teresa Margolles.” Peter Kilchmann Gallery.  https://www.peterkilchmann.com/artists/teresa-margolles/overview/sonidos-de-la-muerte-sounds-of-death-2008. Wuertz, Christopher Alessandrini, Stephanie. “Remembering Ana Mendieta.” The Metropolitan Museum of Art. https://www.metmuseum.org/perspectives/articles/2021/10/from-the-vaults-remembering-ana-mendieta. Credits Season 2 of Unboxing the Canon is produced by Professor Linda Steer for her course “Introduction to the History of Western Art” in the Department of Visual Arts at Brock University. Our sound designer, co-host and contributing researcher is Madeline Collins.  Brock University is located on the traditional lands of the Haudenosaunee and Anishinaabe peoples, many of whom continue to live and work here today. This territory is covered by the Upper Canada Treaties and is within the land protected by the Dish with One Spoon Wampum Agreement. Today this gathering place is home to many First Nations, Métis and Inuit peoples and acknowledging reminds us that our great standard of living is directly related to the resources and friendship of Indigenous people. Our logo was created by Cherie Michels. The theme song has been adapted from “Night in Venice” Kevin MacLeod and is licensed under Creative Commons Attribution International 4.0. Grants from the Humanities Research Institute and from Match of Minds at Brock University support the production of this podcast, which is produced as an open educational resource. Unboxing the Canon is archived in the Brock Digital Repository. Find it at https://dr.library.brocku.ca/handle/10464/14929   You can also find Unboxing the Canon on any of the main podcast apps. Please subscribe and rate our podcast. You can also find us on Twitter @CanonUnboxing and Instagram @unboxingthecanon or you can write to unboxingthecanon@gmail.com 

EPISODE NOTES:The first of two episodes dedicated to a controversial and incredibly consequential piece of twentieth century menswear. This episode will delve into the history of the zoot suit and the different groups and individuals who helped bring it about and how it became an icon of social and political resistance.  Support us at :https://www.patreon.com/historyunhemmedhttps://anchor.fm/historyunhemmed/support Follow us on: Instagram: @history_unhemmed Facebook: History Unhemmed Thank you!

In this fifth episode, Nicole K. Rivas summarizes themes discussed in previous episodes as she briefly introduces season 2.Visit www.nkrivas.com/research-project for more definitions, references, and information.    Follow our Instagram page @archaeologyoffashion for updates.

The 35th episode was recorded remotely with Angela Jansen, who is the founder of the Research Collective for Decoloniality and Fashion (RCDF). She is an independent researcher, educator, consultant, curator, and the author of Moroccan Fashion: Design, Tradition and Modernity (2014), co-editor with Jennifer Craik of Modern Fashion Traditions: Negotiating Tradition and Modernity Through Fashion(2016). She is also the guest co-editor with Toby Slade of the special issue of Fashion Theory on “Decoloniality and Fashion” (2020). Her scholarship grows out of an ongoing critique of Eurocentric fashion. She argues that the way fashion as a noun has come to refer to a temporality of contemporaneity, or a system of inequality and an industry of capitalism particular to modernity, is intrinsic to its discriminating, exploitive, and destructive nature. While fashion as a verb, the act of fashioning the body, is of all times and places. Systems of fashioning “outside of modernity” are deliberately and systematically discriminated against, silenced, and erased. In 2012, she initiated RCDF to experiment with decolonial ways of knowledge-creation and sharing – through conversation, through the communal and coalitional, and through a broad diversity of voices across age, race, gender, education, discipline, and geography.

In this fourth episode (part two), Nicole K. Rivas unfolds how one determines the value of a vintage piece or garment of the past. She concentrates on the objective point of view from appraisers, resellers, and collection managers as we examine "what's worth investing in?".Visit www.nkrivas.com/research-project for more definitions, references, and information.    Follow our Instagram page @archaeologyoffashion for updates.

In this fourth episode (part one), Nicole K. Rivas unfolds how one determines the value of a vintage piece or garment of the past. She focuses on the subjective point of view from buyers, collectors, and vintage enthusiasts as we examine "what's worth collecting?".Visit www.nkrivas.com/research-project for more definitions, references, and information.    Follow our Instagram page @archaeologyoffashion for updates.

In this episode you meet Elke Gaugele – a highly political cultural anthropologist, writer, and curator, she is professor for Fashion and Styles at the Academy of Fine Arts in Vienna and head of the Austrian Center for Fashion Research (ACfFR). Fashion is a great teacher talks to her about: intellectual activism, the impact of teaching fashion teachers, how making her own clothes determined her scholarship, and not wanting to reinvent herself as a Marxist.Audio editing & mixing by: Moritz BaillyMusic by: Johannes von WeizsäckerGraphic by: Studio Regular

In this third episode, Nicole K. Rivas elaborates on how one distinguishes a garment of the past. She introduces the history behind vintage clothing and draws in connections with its mass-market appeal, sartorial remembrance, and material autobiography.Visit www.nkrivas.com/research-project for more definitions, references, and information. Follow our Instagram page @archaeologyoffashion for updates.

In this second episode, Nicole K. Rivas begins to unpack the theoretical framework behind the archaeology of fashion by discussing the inspiration behind this podcast, defines terminologies, and shares lingering questions in her closing sentiments. Visit www.nkrivas.com/research-project for more definitions, references, and information. Follow our Instagram page @archaeologyoffashion for updates.

Fashion stands for individuality and self-expression at a specific place and period in time and given context, defined by influencers in the fashion industry and popular culture, to which it is trending. Design is a vehicle for time and social change that interconnects society, entertainment, politics, fashion, and technology, which translates into popular culture, practices, beliefs, and rituals prevailing in society at any given point in time.Professor José Teunissen, Dean of the School of Design and Technology at London College of Fashion, University of the Arts London (UAL), and Professor of Fashion Theory,  provides perspective on the importance of creativity in the fashion industry, her creative process, what it takes to succeed, and the industry's future. She is the principal investigator of three European-funded projects in Fashion Tech and digital learning and a Freelance Fashion Curator. From 2002- 2016 she held a Professorship in Fashion Theory at ArtEZ, where she established the Centre of Expertise Future Makers, dedicated to digital innovation and sustainable solutions for the Fashion discipline. She is currently a board member of the Dutch Creative Industries Council, International Federation of Fashion Technology Institutes (IFFTI), International Apparel Federation (IAF), Sonsbeek State of Fashion, and Fashion for Good.Jose Teunissen | UAL (arts.ac.uk)More about Creativity:"Creativity Without Frontiers" is now available at Unknown Origins Books and all relevant book retailers. Stay in touch:Web: https://www.unknownorigins.com/Twitter: Unknown Origins (@UnknownOrigins9) / TwitterInstagram: Unknown Origins (@unknownoriginsuo77)Facebook: https://www.facebook.com/Unknown-Origins-112791887004124LinkedIn: https://www.linkedin.com/company/unknown-origins/YouTube: Unknown Origins - YouTubeMusic by Iain MutchWALKERANDWILLIAMSupport the show (https://www.paypal.com/unknownorigins)

This bonus episode is an academic talk by host Zara Korutz focused on dandyism as the original form of street-style using style as agency. Street style is a form of self-expression that reacts against mainstream culture and is identified in categories of sub cultural styles, represented by fashion influence. Dandyism's historical roots creates a myth of authenticated personal identification. The word “myth” is not an untruth but rather a complicated system that theorist Roland Barthes describes as a form of communication. If fashion is considered a system of communication, then the dandy uses fashion to construct themselves using style as agency. Please join me as I explore the dandy as a fashion innovator of street style and how dandyism fashion connects to authenticity as a creative expression and position within society. If you geek out over fashion theory, then this talk is for you… Please engage with your thoughts afterwards on social media or with a personal voice note. References: Barthes, R (1957) Mythologies Breward, C. (2016) The Suit. London: Reaktion Books. Croll, J. (2015) Fashion that Changed the World. London: Prestel. Lewis, S.P. (2017) Dandy Lion. First edition. New York, N.Y: Aperture. Meinhold, R. and Irons, J. (2014) Fashion Myths. Bielefeld: Transcript Verlag. Musgrave, E. (2019) Sharp Suits. GB: Pavilion. Rocamora, A and O'Neill, A (2008) ‘Fashioning the Street: Images of the Street in the Fashion Simmel, G. (1905) “Fashion” International Quarterly, 1,22, pp. 130-155 Woodward, S (2009) ‘The Myth of Street Style', Fashion Theory, 13, 1: 83 – 102 Cover Art Photo of Dandy Wellington By Julia Bahlsen --- Send in a voice message: https://anchor.fm/zara-korutz/message

En este episodio, compartimos algunas de las definiciones de la moda que se han ofrecido desde los estudios de moda. Comenzamos explorando algunas de las definiciones más básicas, que parten de la asociación directa de la moda con la modernidad, Occidente, el cambio constante y acelerado y la esencia femenina. Luego ofrecemos algunas definiciones más amplias de la moda, que nos permiten entenderla como una articulación entre el vestido y el estilo, que se encuentra en la intersección de la persona que se viste y la sociedad, y como una práctica corporal localizada. Para terminar, compartimos la definición del “impulso de la moda” y buscamos la reconstitución total del término desde las teorías decoloniales y de la indigenización de la moda.Referencias:Carol Tulloch, “Style-Fashion-Dress: From Black to Post-Black”, Fashion Theory 14, no. 3 (2010): 273–304. Coletivo Indígenas Moda Brasil: @indigenasmodabr Dayana Molina: @molina.ela Dick Hebdige, Subcultura: El significado del estilo (Barcelona: Paidós, 2004). Jennifer Craik, The Face of Fashion: Cultural Studies in Fashion (Londres: Routledge, 1994). Joanne B. Eicher y Barbara Sumberg, eds., Dress and Ethnicity: Change Across Space and Time (Oxford: Berg, 1995). Pravina Shukla, Costume: Performing Identities Through Dress (Bloomington e Indianápolis: Indiana University Press, 2015). Susan B. Kaiser, Fashion and Cultural Studies (Londres: Bloomsbury, 2012). Thorstein Veblen, Teoría de la clase ociosa (México: Fondo de Cultura Económica, 1966). Encuéntranos en: http://culturasdemoda.com/salon-de-moda/ @moda2_0 @culturasdemoda #SalonDeModa Agradecemos a Fair Cardinals (@faircardinals) por la música, a Jhon Jairo Varela Rodríguez por el diseño gráfico y a Maca Rubio por la edición del audio.

Barnard, M. (2017). Fashion statements: Communication and culture. Fashion Theory. Routledge. Email: Ontheteewithdrp@gmail.com Website: https://talkingolf.com/

In this episode you meet Christina Moon, Professor of Fashion Studies at Parsons School of Design in New York, an anthropologist who works on social ties and cultural encounters between design worlds and manufacturing landscapes across Asia and the Americas. Fashion is a great teacher talks to her about: cultivating community and collective wisdom, making culture in a 90-minute class, not holding on to one view, her learnings from teaching a baseball team.Audio editing & mixing: Moritz BaillyMusic by: Johannes von WeizsäckerGraphic by: Studio Regular

La relación entre moda y política es estrecha y ha existido a lo largo de la historia, marcando hitos importantes en el desarrollo de las sociedades y la cultura popular. A propósito de los estallidos sociales y protestas en Colombia, Chile, Perú y otros países de América Latina, analizamos las implicaciones de la moda y el diseño en las movilizaciones sociales.Referencias: Annie Brown, “Unpacking the Meaning behind Dior's New Feminist Tee”, The Sydney Morning Herald, 28 de septiembre de 2017, acceso el  13 de mayo de 2021, https://www.smh.com.au/lifestyle/fashion/unpacking-the-meaning-behind-diors-new-feminist-tee-20170928-gyqgvd.html. Carolin Weber, Queen of Fashion: What Marie Antoinette Wore to the Revolution (Londres: Aurum, 2008). The British Library, “The Yellow Star”, acceso el 14 de mayo de 2021, http://www.bl.uk/learning/histcitizen/voices/info/yellowstar/theyellowstar.html. Javier Forero, “¿Qué es el CRIC y por qué es tan influyente en las movilizaciones?” El Tiempo, 12 de mayo 2021, acceso el 12 de mayo de 2021, https://www.eltiempo.com/politica/proceso-de-paz/que-es-el-cric-y-por-que-es-tan-influyente-en-las-movilizaciones-587939. Laura Beltran-Rubio, “Design for Dissent: Political Participation and Social Activism in the Colombian Fashion Industry”, Fashion Theory 23, no. 6 (2019): 655–78. Peter Saenger, “The Long Reign of Parisian Fashion”, Wall Street Journal, 3 de agosto de 2019, acceso el 14 de mayo de 2021, https://www.wsj.com/articles/the-long-reign-of-parisian-fashion-11564768228. Regina Barbosa Ramos y Gilberto Prado, “Activación Por El Diseño: Colaboración y Co-Creación”, Libro de Actas - IV Congreso Internacional de Investigación en Artes Visuales. ANIAV 2019. Imagen [N] Visible (2019): 71-75. Fashion Unfiltered, “The Courageous Life of Catherine Dior”, acceso el 14 de mayo de 2021, https://fashionunfiltered.com/people/2018/catherine-dior-wwii-french-resistance. Encuéntranos en: http://culturasdemoda.com/salon-de-moda/ @culturasdemoda | @moda2_0 | #SalonDeModa Agradecemos a Fair Cardinals (@faircardinals) por la música, a Jhon Jairo Varela Rodríguez por el diseño gráfico y a Maca Rubio por la edición del audio.

This bonus episode is a talk by Zara Korutz for the DePaul Pop Culture Conference "A Celebration of Superheroes". Please join the conference on May 1, 2021 by registering at https://popcultureconference.com/2020-superheroes Abstract: Superman, who is a manufactured entertainment superhero character, can be considered an iconic symbol of the Pop-culture Movement in the 1960s— an era when cultural authorities used zeitgeist philosophies, like ‘Camp’, as a way of deciphering new intellectual approaches to artistic sub-cultural phenomena and social revolutions. Superman’s appearance holds cultural power through iconography which is a visual language of social significance that belongs in a larger contextual social structure as outlined in semiotics (Barthes 1995). Superman’s power is marked by his fashion and is integral to understanding his identity. The often-dramatic transformation from his alter-ego identity allows for the possibility of another truth, and this duality creates a sense of magical escapism which is fundamental to understanding the superhero’s construct— wherein the costume, like a suit, is used as a ‘weapon of style’ (Breward 2016:116) that holds special powers of physical and ideological strength (Brownie and Graydon 2016). Superman’s fashioned muscular body can be understood as a metaphor for transforming queer modes of representation in society into dominant modes through symbols of commodified hegemonic masculine power. Therefore, Superman’s secret is a paradox of perceived truth that is not fixed but relative to the state of being (Basu 2017). Sincere gratitude to Dr. Jane Tynan, Dr. Royce Mahwatte and Dr. Elizabeth Kutesko for their support of this research. References Barthes, R. (1995) The Semiotic Challenge. University of California Press. Basu, P. (2017) The Inbetweenness of Things. Materializing Mediation and Movement Between Worlds. London and New York: Bloomsbury. Breward, C. (2016) The Suit: Form, Function and Style. London: Reaktion Books Ltd. Breward, C. (1998) Cultures, Identities, Histories: Fashioning a Cultural Approach to Dress, Fashion Theory, 2:4, 301-313. Brownie, B. and Graydon, D (2016) The Superhero Costume. London and New York: Bloomsbury Academic Publishing. Meyer, M. (1994) The Politics and Poetics of Camp. London & New York: Routledge. Sontag, S. (2018) Notes on Camp. Penguin Random House UK. Cover Photo: Courtesy ClipArt.info --- Send in a voice message: https://anchor.fm/zara-korutz/message

Citation:Guan, Congying, et al. "Enhancing Apparel Data Based on Fashion Theory for Developing a Novel Apparel Style Recommendation System." World Conference on Information Systems and Technologies. Springer, Cham, 2018.Link:https://eprints.ncl.ac.uk/file_store/production/248266/94F8DF1B-3DF7-403E-9035-98BD6F3C0FE3.pdf

Claire Wilcox - the Senior Fashion curator at London's Victoria and Albert Museum discusses her new book, Patchwork A Life Amongst Clothes. As the title suggests, Patchwork is a memoir. But as the conversation unfolds, it becomes clear that Patchwork is an unconventional memoir. The original storytelling method Claire conceived for this book portrays the facts of her life in an abstract manner, prompting the reader to imagine the finer details.  The writing process, Claire explains, was as much of a therapeutic exercise as a creative release. She embarked on this book in 2014. She then experienced the passing of her beloved parents and also undertook the most challenging curatorial project of her career - staging the Metropolitan Museum's blockbuster exhibition, Alexander McQueen, Savage Beauty at the V&A.  Claire Wlicox has worked closely with some of the biggest names in fashion from McQueen to Vivienne Westwood and the Versace family. And along with discussing her new book, she provides a peek behind the closed doors of the V&A, its groundbreaking fashion department, where she has worked for decades. She also discusses some of the legendary professionals who elevated the museum onto the world stage including Sir Roy Strong and Valerie D. Mendes.  Related Reading Claire Wilcox, Patchwork: My Life Amongst Clothes (Bloomsbury Publishing) Claire Wilcox, “Who Gives A Frock?” - Valerie Mendes, Jean Muir and the Building of the National Collection at the Victoria and Albert Museum, Fashion Theory, 8 June 2018 Claire Wilcox & Valerie D. Mendes, 20th Century Fashion In Detail (Thames & Hudson)  Sir Roy Strong, Splendours and Miseries, The Roy Strong Diaries, 1967 - 1987 (Weidenfeld & Nicolson) Join The Conversation To send episode ideas, feedback, ask questions and also enquire about sponsorship and partnership opportunities please email the host and creator: Bronwyn@Bronwyncosgrave.com

En este episodio hablamos de uno de nuestros temas favoritos: la curaduría de moda. La motivación de grabar esta conversación también viene de los malos entendidos que hemos identificado con respecto al término de “curaduría” de moda. Aunque en Latinoamérica la palabra curaduría con frecuencia se asocia con las grandes ferias y eventos de la industria. En realidad abarca todo el proceso de planeación y puesta en escena de las exposiciones e incluye un trabajo impresionante de restauradores, conservadores, investigadores y diseñadores, entre otras personas.Referencias: Annamari Vänskä y Hazel Clark, eds. Fashion Curating: Critical Practice in the Museum and Beyond (Londres: Bloomsbury, 2017). Julia Petrov, Fashion, History, Museums: Inventing the Display of Dress (Londres: Bloomsbury, 2019). Julia y Renata: moda y transformación, Museo de Arte de Zapopan (curadora Tanya Melendez), Guadalajara, México, 6 de noviembre de 2020 al 21 de febrero de 2021, https://maz.zapopan.gob.mx/portfolio_page/julia-y-renata-moda-y-transformacion/. Julia y Renata en Instagram: https://www.instagram.com/juliayrenata/. Laura Beltrán-Rubio y Sandra Mathey García-Rada, “Guía para visitar, criticar y reseñar exposiciones de moda”, Culturas de Moda, 30 de junio de 2020, http://culturasdemoda.com/guia-exposiciones-de-moda/. Laura Beltrán-Rubio, “Moda del siglo XIX en el Museo Nacional de Colombia”, Culturas de Moda, 16 de abril de 2018, http://culturasdemoda.com/el-museo-en-el-museo/.  –––, “Una historia de la moda en los museos”, Culturas de Moda, 18 de mayo de 2020, http://culturasdemoda.com/una-historia-de-la-moda-en-los-museos/. Lou Taylor, Establishing Dress History (Manchester University Press, 2004). Marie Riegels Melchior y Birgitta Svensson (eds.), Fashion and Museums: Theory and Practice (Londres: Bloomsbury, 2014). Valerie Steele, “A Museum of Fashion Is More Than a Clothes-Bag”, Fashion Theory 2, no. 4 (1998): 327–335. –––, “Museum Quality: The Rise of the Fashion Exhibition”, Fashion Theory 12, no. 1 (2008): 7–30. Encuéntranos en: http://culturasdemoda.com/salon-de-moda/@moda2_0 @culturasdemoda #SalonDeModa Agradecemos a Fair Cardinals (@faircardinals) por la música, a Jhon Jairo Varela Rodríguez por el diseño gráfico y a Maca Rubio por la edición del audio.

In this episode you meet Zowie Broach, one half of the legendary label B O U D I CC A and the Head of Fashion at the Royal College of Art in London. She has fostered a highly individualized approach to teaching fashion, fusing fashion and science, philosophy and poetry, challenging existing processes and products. Fashion is a great teacher talks to her about education as an experimental place not bullied by the industry, feeling alive through teaching, fashion as a drug and a harsh teacher, and not knowing how to teach right now. Interview by Renate Stauss Audio editing & mixing: Moritz BaillyMusic by: Johannes von WeizsäckerGraphic by: Studio Regular

Citation:Peters, Lauren Downing. "You Are What You Wear: How Plus-Size Fashion Figures in Fat Identity Formation." Fashion Theory 18.1 (2014): 45-71. Link:https://www.tandfonline.com/doi/abs/10.2752/175174114X13788163471668

Citation:Clarke, Alison, and Daniel Miller. "Fashion and Anxiety." Fashion Theory 6.2 (2002): 191-213.Link:https://www.tandfonline.com/doi/abs/10.2752/136270402778869091

Citation:Clarke, Alison, and Daniel Miller. "Fashion and Anxiety." Fashion Theory 6.2 (2002): 191-213. Link:https://www.tandfonline.com/doi/pdf/10.2752/136270402778869091?casa_token=pjoEPvZY-VoAAAAA%3AWl4EXQwm0IIDaEg6W1W8ztP7XcysDnXUw9FeqzgA3x5xswj8LRrRDidLyaFNLliM_Da9KzdlMBbq&

In this episode you meet Valerie Steele. She is the director and chief curator of The Museum at the Fashion Institute of Technology in New York. She is also the founder and editor in chief of the Fashion Theory journal. As author, curator, editor, and educator Valerie Steele has been instrumental in creating the modern field of fashion studies and impacted its education lastingly. Fashion is a great teacher talks to Valerie Steele about finding her fascination for fashion in her mother's evening dresses, teaching fashion in order to spend her life studying fashion and students as friends and vampires. Audio editing & mixing: Moritz BaillyMusic by: Johannes von WeizsäckerGraphic by: Studio Regular

Is Trump a Bimbo? What is dark academia, is it the same thing as the intellectual dark web? Are Hawaiian shirts problematique? We discuss internet fashion trends and the aesthetics of politics with certified tiktok zoomer Biz Sherbert (aka @markfisherquotes)! If you like the podcast and want more, please consider supporting us: https://www.patreon.com/artandlabor. Follow us on twitter and instagram. You … Continue reading "Episode 96 – Bimbos, Boogaloos, and Trump, Oh My! with Biz Sherbert"

Is Trump a Bimbo? What is dark academia, is it the same thing as the intellectual dark web? Are Hawaiian shirts problematique? We discuss internet fashion trends and the aesthetics of politics with certified tiktok zoomer Biz Sherbert (aka @markfisherquotes)! If you like the podcast and want more, please consider supporting us: https://www.patreon.com/artandlabor. Follow us on twitter and instagram. You … Continue reading "Episode 96 – Bimbos, Boogaloos, and Trump, Oh My! with Biz Sherbert"

Citation:Steele, Valerie. "Museum Quality: The Rise of the Fashion Exhibition." Fashion Theory 12.1 (2008): 7-30. Link:http://approaches-to-object.wdfiles.com/local--files/november-13/Steele%202008.pdf

We talk about Virigina Woolf’s 1924 short story ‘The New Dress’ and Lisa Cohen’s article about Woolf’s “frock consciousness”. See links below. https://www.instagram.com/roisinmurphyofficial/ https://bonhomme.fr/# The New Dress, Excerpt from Viriginia Woolf’s 1927 [sic] short story, by Vestoj Editors: http://vestoj.com/the-new-dress/ The New Dress read by Carolyn Pickles, BBC (21 June 2019): https://www.bbc.co.uk/programmes/p07d4lyy Lisa Cohen, ‘”Frock Consciousness”: Virginia Woolf, the open secret, and the Language of Fashion’, Fashion Theory, Volume 3, Issue 2 (1999): https://doi.org/10.2752/136270499779155032 Georg Simmel, ‘Fashion’, American Journal of Sociology, Volume 62, No. 6 (May 1957): https://www.jstor.org/stable/2773129 Lisa Cohen, All We Know: Three Lives (2012): https://wesscholar.wesleyan.edu/englbooks/58/ R.S. Koppen, Virginia Woolf: Fashion & Literary Modernity, Edinburgh University Press (2009): https://edinburghuniversitypress.com/book-virginia-woolf-fashion-and-literary-modernity.html Thomas Carlyle, Sartor Resartus (1831): https://www.gutenberg.org/files/1051/1051-h/1051-h.htm

Citation:Twigg, Julia. "How does Vogue negotiate age?: Fashion, the body, and the older woman." Fashion Theory 14.4 (2010): 471-490. Link: https://kar.kent.ac.uk/32789/1/How%20does%20Vogue%20negotiate%20age%20version%20for%20distrib%20and%20KAR.doc

The 7th episode was recorded on a trip to Herning, the textile hub in central Jutland, in Denmark. Together with some of my students from my Fashion Theory and Fashion History courses at SDU, we got a special tour of the Textile Museum in Herning. That same day, we also got to see the Via Design School with state-of-the-art textile, fashion, graphic, and furniture design labs, talk to some of the teachers and students there, and watch some of their design pieces come into being. We then made a stop-over at the Sewing Lab (Sylab) in the nearby town of Ikast, one of the few remaining sewing facilities still operating in Denmark, and producing custom orders for big and small Danish and international brands, working on new prototypes, renting out work-space and equipment to start-up designers, and collaborating with the local textile suppliers in the area.

We discuss Basil Dearden’s fascinating 1959 film Sapphire - which shows the intricacies of identity in post war London. See links below. Basil Dearden (director), Julie Harris (costume design), Sapphire (1959): https://www.imdb.com/title/tt0053242/ Sapphire on Retrospective’s Youtube channel: https://www.youtube.com/watch?v=7HYYhQwYZEE Sapphire on Reelstreets: https://www.reelstreets.com/films/sapphire/ Josephine Botting, ‘Remembering Julie Harries: costume designer for Bond and Hitchcock’, BFI (2 June 2015): https://www.bfi.org.uk/news-opinion/news-bfi/features/remembering-julie-harris-costume-designer-bond-hitchcock ‘The Look of Austerity’, special issue of Fashion Theory, Volume 21, Issue 4 (2017): https://www.tandfonline.com/toc/rfft20/21/4?nav=tocList Lynda Nead, ‘”Red Taffeta Under Tweed”: the color of post-war clothes’, Fashion Theory, Volume 21, Issue 4 (2017): https://eprints.bbk.ac.uk/30543/ Roger Mayne, Southam Street: http://www.rogermayne.com/sstreet/southamstreet.html Bryan Forbes (director), Beatrice Dawson (costume design), The L-Shaped Room (1962): https://www.imdb.com/title/tt0057239/

We discuss two 1940s films - The Gentle Sex (1943) and It Always Rains on Sunday (1947) - and the fascinating ways they portray wartime and post-war femininities. See links below. Rebecca Arnold, ‘Fashion in Ruins: Photography, Luxury and Dereliction in 1940s London’, Fashion Theory, Vol. 21, Issue 4 (2007): https://doi.org/10.1080/1362704X.2016.1254426 Claire McCardell, Popover Dress (1942): https://www.metmuseum.org/toah/works-of-art/C.I.45.71.2ab/ Vera Maxwell, Jumpsuit (1945): https://www.metmuseum.org/art/collection/search/155844 Leslie Howard (director), The Gentle Sex (1943): https://www.imdb.com/title/tt0035931/ Robert Hamer (director), Anthony Mendleson (wardrobe supervisor), It Always Rains on Sunday (1947): https://www.imdb.com/title/tt0040481/ Arthur La Bern, writer of the novel It Always Rains on Sunday (1945): http://www.london-books.co.uk/authors/arthurlabern.html London Locations of It Always rains on Sunday: https://www.reelstreets.com/films/it-always-rains-on-sunday/ BFI, Introduction to It Always rains on Sunday (2013): https://www.youtube.com/watch?v=5b4Pkl1JgFM Imperial War Museum, Anderson Shelters in London (1940): https://www.iwm.org.uk/collections/item/object/205070170

We talk about clothes worn by Isabelle Huppert and Chloë Grace Moretz in the film Greta and a slightly puzzling 1920s dress in the Museum of London’s collection. See links below. Neil Jordan (director), Joan Bergin (costume design), Greta (2018): https://www.imdb.com/title/tt2639336/ Nick Chen, Greta is a film about loneliness, and using designer bags to make friends, Dazed, 16 April 2019: https://www.dazeddigital.com/film-tv/article/44019/1/greta-film-neil-jordan-chloe-grace-moretz-isabelle-huppert Jules David Prown, ‘The Truth of Material Culture: History or Fiction?’, in Jules David Prown and Kenneth Haltman, American Artifacts: essays in material culture.(Michigan State University Press 2000), pp. 11-27 Valerie Steele, A Museum of Fashion is More Than a Clothes-Bag, Fashion Theory, Volume 2, Issue 4 (1998), pages 327-335: https://doi.org/10.2752/136270498779476109

We talk about cosmetics between the wars, the traces our garments leave on us and our surroundings as well as the times when clothes fail us. See links below. Rebecca Arnold, ‘The Kodak Ensemble: Fashion, Images and Materiality in 1920s America’, Fashion Theory (15 July 2019): https://doi.org/10.1080/1362704X.2019.1638166 The Vintage Compact Shop, Richard Hudnut (15 April 2017): https://thevintagecompactshop.com/blogs/antique-and-collectible-history/richard-hudnut-compacts-heritage Tre-Jur Advertisement (1924): https://www.periodpaper.com/products/1924-ad-tre-jur-makeup-cosmetics-compact-lipstick-blush-rouge-powder-jewel-case-116999-thm-232 Grace Lee, Evening Essential: Grace’s Family’s 1930s Minaudière, Documenting Fashion (12 December 2017): http://blog.courtauld.ac.uk/documentingfashion/tag/minaudiere/ Ewald André Dupont (director), Piccadilly (1929): https://www.imdb.com/title/tt0020269/ Aria Darcella, Remember when a dress almost destroyed Fred Astaire and Ginger Rogers?, CR (21 June 2018): https://www.crfashionbook.com/celebrity/a21656038/fred-astaire-ginger-rogers-wardrobe-malfunction/ Jean Harlow and Wallace Beery in George Cukor (director), Dinner at Eight (1933): https://www.youtube.com/watch?v=om9nTKzGXqc (gowns by Adrian) Mitchell and Kenyon Collection. September 1902 – Fair in North England, Leeds (1902): https://youtu.be/zABSkm8Q3mE (nice selection of feathered accessories) Styling Hollywood, Netflix (2019): https://www.netflix.com/gb/title/80204364

We discuss Charlie Curran’s beautiful film See Know Evil which documents the life of fashion photographer Davide Sorrenti. See links below. Charlie Curran (director), See Know Evil (2018): https://www.imdb.com/title/tt8755156/ See Know Evil on Charlie Curran’s website: http://www.charliecurran.com/see-know-evil See Know Evil IG: https://www.instagram.com/see_know_evil/ Charlie Curran IG: https://www.instagram.com/myhilism/ Rebecca Arnold, Fashion Desire and Anxiety (I.B. Tauris 2001): https://www.bloomsbury.com/uk/fashion-desire-and-anxiety-9780857718396/ Rebecca Arnold, ‘Heroin Chic’, Fashion Theory, Volume 3, Issue 3 (1999): https://doi.org/10.2752/136270499779151405 Jake Hall, ‘Reframing the life and work of pioneering 90s photographer Davide Sorrenti’, Dazed (24 January 2019): https://www.dazeddigital.com/fashion/article/43027/1/davide-sorrenti-90s-photographer-see-know-evil-film-charles-curran-heroin-chic James Cameron (director), Terminator 2: Judgement Day (1991): https://www.imdb.com/title/tt0103064/ Louise Krasniewicz and Michael Blitz, The Intersexts of Linda Hamilton’s Arms (1996): http://chnm.gmu.edu/aq/arnold/arnoldwebpages/intersext.htm and https://www.academia.edu/11345036/The_Intersexts_of_Linda_Hamiltons_Arms_updated_with_references

How do you design a more egalitarian society through the clothing choices of men and women? Turns out, the social cues of clothing (and how well you can actually move in those clothes) were a major concern for some French revolutionaries. Fellow Northwestern PhD student Marissa Croft studies this intersection of costuming and politics. Suggested Reading: The Marie Antoinette Dress that Ignited the Slave Trade: https://www.racked.com/2018/1/10/16854076/marie-antoinette-dress-slave-trade-chemise-a-la-reine (General Interest) Politics & Costuming article: Naomi Lubrich. “The Little White Dress: Politics and Polyvalence in Revolutionary France.” Fashion Theory, vol. 20, no. 3, May 2016, pp. 273–96. Taylor and Francis+NEJM, doi:10.1080/1362704X.2015.1082275. https://www.tandfonline.com/doi/abs/10.1080/1362704X.2015.1082275?journalCode=rfft20 Recycled Movie Costumes Blog: http://www.recycledmoviecostumes.com/ A language of the Flowers dictionary: http://www.gutenberg.org/ebooks/31591 The anti-revolution parrot article: http://www.archivespasdecalais.fr/Activites-culturelles/Un-document-a-l-honneur/Un-perroquet-devant-la-justice-revolutionnaire Follow Marissa Croft: @mgcroft Follow me: PhDrinking@gmail.com, @PhDrinking, @SadieWit, www.facebook.com/PhDrinking/ Thanks to www.bensound.com/ for the intro/outro Thanks to @TylerDamme for audio editing

We discuss the recent sale of Catherine Deneuve’s Yves Saint Laurent clothes, and wonder about the values and meanings attached to vintage fashions. See links below ... Catherine Deneuve et Yves Saint-Laurent [sic], Christie's, Sale 17514, 24 January 2019, results: https://www.christies.com/catherine-deneuve-et-yves-28219.aspx Jess Cartner-Morley, 'Catherine Deneuve is selling her Yves Saint Laurent wardrobe - but that look will never go away', The Guardian (15 January 2019): https://www.theguardian.com/fashion/2019/jan/15/catherine-deneuve-is-selling-her-yves-saint-laurent-wardrobe-but-that-look-will-never-go-away AnOther, 'Catherine Deneuve Sells $1 Million Worth of Yves Saint Laurent Couture' (25 January 2019): https://www.anothermag.com/fashion-beauty/11444/catherine-deneuve-sells-1-million-worth-of-yves-saint-laurent-couture Rencontres Couture à Paris de la Collection Didier Ludo, Sotheby's, Sale PF1570, 8 July 2015, results: http://www.sothebys.com/en/auctions/2015/collection-didier-ludot-pf1570.html Didier Ludot, Paris: https://www.didierludot.fr/ Raphael Samuel, Theatres of Memory: Past and Present in Contemporary Culture (1994): https://www.versobooks.com/books/1098-theatres-of-memory Michael Clarke, 'Exhibition Review: Madeleine Vionnet: 15 Dresses from the Collection of Martin Kamer', Fashion Theory, Vol. 6, 2002, Issue 3: https://doi.org/10.2752/136270402790577631 Rosa Vertov, 'Tina Chow: The inventor of "minimal chic"', Vertov, 7 March 2018: https://shopvertov.com/blogs/vintage-inspiration/tina-chow-the-inventor-of-minimal-chic

Bienvenue dans le podcast qui s’intéresse au sens de l’Habit. Que révèle le Style ? Comment le vêtement change l’Histoire ? Se fait miroir de notre époque ? Influence nos rapports sociaux ? Comment mettre du sens dans nos dressings pour les rendre durables ? Peut-on s’offrir le luxe d’être soi dans un monde où l’on possède trop de tout ? Je suis Victoire Satto, cofondatrice de Thegoodgoods, un webmagazine dédié au Style conscient et à la Mode responsable, et je reçois aujourd'hui Valerie Steele. Le Docteur Valerie Steele est un monument de Mode. Elle est historienne et l’auteure de plus de 25 ouvrages sur le sujet, ancienne enseignante, elle dirige le Musée du FIT à New York depuis 2003 et est Éditrice-en-chef de Fashion Theory.  Dans cet épisode, on va parler : de cette véritable science qu’est la Mode, qui est bien loin d’être une discipline frivole de l’impact des consommateurs émergents en Inde et en Chine dans une offre globalisée de la difficulté d’implémenter des notions d’écologie dans une industrie gigantesque RETROUVEZ VALERIE STEELE :  -Dans Fashion Theory ici : https://www.tandfonline.com/loi/rfft20 -Ses livres :  Ofr : http://www.paris-art.com/lieux/ofr/ Fondation Azzedine Alaïa, 18 rue de la verrerie, Paris 3ème Librairie Descours, 31 Rue Auguste Comte, 69002 Lyon Ou à commander chez votre libraire de quartier (plutôt que sur Amazon) RETROUVEZ-NOUS :  ° Sur Facebook : @thegoodgoods.fr ° Sur Instagram : @thegoodgoods.fr ° Sur Twitter : @victoiresatto ° Sur www.thegoodgoods.fr - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -  Avant de partir... Si vous appréciez le podcast, ce qui nous aide le plus pour le porter aux oreilles d'un maximum de personnes, c'est que vous preniez quelques secondes pour laisser une note étoilée sur Apple Podcast ou sur Itunes. N'hésitez pas également à :

We discuss the wonderful Atelier E.B: Passer-by exhibition at the Serpentine Gallery, and wonder about the ethics of using people’s fashion choices for targeting political propaganda. See links below. Atelier E.B: Passer-by at Serpentine Gallery (2018-19): https://www.serpentinegalleries.org/exhibitions-events/atelier-eb-passer Atelier E.B: Passer-by exhibition guide (2018): https://www.serpentinegalleries.org/files/downloads/1636.serp_atelier_e.b_guide_aw_no_crops.pdf Eric Newton, 'First surrealist art exhibition in England - archive, 1936', The Guardian (12/06/2018, originally 12/06/1938): https://www.theguardian.com/artanddesign/2018/jun/12/first-surrealist-art-exhibition-in-england-archive-1936 RA Collections Team, 'How to read it: Meredith Frampton’s Still Life' (17/02/2017): https://www.royalacademy.org.uk/article/how-to-read-it-meredith-frampton Marguerite V. Hodge, 'Enigmatic Bodies: Dolls and the Making of Japanese Modernity', Nineteenth-century art worldwide, vol. 12, issue 1 (spring 2013): http://www.19thc-artworldwide.org/spring13/hodge-enigmatic-bodies (mentions Yasumoto Kamehachi) Gene Moore’s work for Tiffany & Company: https://edan.si.edu/slideshow/slideshowViewer.htm?eadrefid=NMAH.AC.1280_ref113 Lynn Hershman Leeson, Project for Bonvit Teller (1976): http://www.lynnhershman.com/project/site-specific-installations/ Rudolf Belling, Sculptures and Architectures, exhibition at Hamburger Bahnhof, Berlin (2017): https://www.smb.museum/en/exhibitions/detail/rudolf-belling-skulpturen-und-architekturen.html Mannequin Museum, Wolfgang Knapp, KulturGut: http://www.mannequin-museum.com/ Tag Gronberg, Designs on modernity: Exhibiting the city in 1920s Paris (2003): http://www.manchesteruniversitypress.co.uk/9780719066740/ Rebecca Arnold, 'Fashion in Ruins: Photography, Luxury and Dereliction in 1940s London', Fashion Theory, vol. 21, issue 4 (2017): https://www.tandfonline.com/doi/abs/10.1080/1362704X.2016.1254426 Bethan Bide, 'More than window dressing: visual merchandising and austerity in London’s West End, 1945–50', Fashion Theory, vol. 60, issue 7 (2018): https://www.tandfonline.com/doi/abs/10.1080/00076791.2017.1400531 Vikram Alexei Kansara, 'Cambridge Analytica Weaponised Fashion Brands to Elect Trump, Says Christopher Wylie', Business of Fashion (29/11/2018): https://www.businessoffashion.com/articles/news-analysis/cambridge-analytica-weaponised-fashion-brands-to-elect-trump-says-christopher-wylie Vanessa Freedman and Jonah Engel Bromwich, 'Cambridge Analytica Used Fashion Tastes to Identify Right-Wing Voters', New York Times (29/11/2018): https://www.nytimes.com/2018/11/29/style/cambridge-analytica-fashion-data.html

We discuss the ways fashion and autobiography intersect - prompted by a visit to see clothes in the Museum of London archive. See links below. Edwina Ehrman and Amy de la Haye (eds), London Couture: British Luxury 1923-1975 (2015): https://www.vam.ac.uk/shop/london-couture-british-luxury-1923-1975-131549.html (article on couture clients features Lady Fox and Lady Delamere) Photos of Myra Alice (née Newton), Lady Fox at NPG: https://www.npg.org.uk/collections/search/person/mp91931/myra-alice-nee-newton-lady-fox Lady Fox's skating outfit at Museum of London: https://www.museumoflondon.org.uk/discover/ice-skating-fashion-craze James Fox, White Mischief (1998, first published 1982): https://www.penguin.co.uk/books/103/1034644/white-mischief/9780099766711.html Michael Radford, White Mischief (1988): https://www.imdb.com/title/tt0094317/ Lisa Cohen, “Frock Consciousness”: Virginia Woolf, the Open Secret, and the Language of Fashion, Fashion Theory, Vol. 3, Issue 2 (1999): https://www.tandfonline.com/doi/abs/10.2752/136270499779155032 Lisa Cohen, “VELVET IS VERY IMPORTANT”: Madge Garland and the Work of Fashion, GLQ - A Journal of Lesbian and Gay Studies, Vol. 11, Issue 3 (2005): https://read.dukeupress.edu/glq/article-abstract/11/3/371/9851/VELVET-IS-VERY-IMPORTANT-Madge-Garland-and-the?redirectedFrom=fulltext Iris Marion Young, Throwing Like a Girl And Other Essays in Feminist Philosophy and Social Theory (1999): http://www.iupress.indiana.edu/product_info.php?products_id=806576

Meet legendary thinker, innovator, disruptor and Cradle to Cradle hero, William McDonough. Architect, designer, thought leader, and author – his vision for a future of abundance for all is helping companies and communities think differently. He was the inaugural chair of the World Economic Forum’s Meta-Council on the Circular Economy and currently serves on the Forum’s Global Future Council on the Future of Environment and Natural Resource Security. For more than 40 years, he has defined the principles of the sustainability movement. This interview is a must for anyone who is interested in the circular economy, or indeed just cares about the future of our planet.  We discuss why we should we view waste as a resource, and how we can transition to doing that. We talk about sustainable development, about look at how we measure society’s success now, and how we might change that in future. As Bill and his co-writer Michael Braungart write in Cradle to Cradle, “In the race for economic progress, social activity, ecological impact, cultural activity, and long-term effects can be overlooked.” We also dig into emptiness vs. abundance. Unpick the idea of fashion as a verb. Look at how weaving and mathematics are linked. And talk about clothes and Diana Vreeland, beauty and the impotrtance of language. Bill can talk about any subject in a completely delightful way. Buckle up for a wild conversational ride.  

We discuss the hidden diversity of interwar London and the wonders of Art Smith’s Modernist jewellery. See also links below. Evelyn Waugh, Vile Bodies (1930): https://www.penguin.co.uk/books/57050/vile-bodies/9780141182872.html Marc Matera, Black London: The Imperial Metropolis and Decolonization in the Twentieth Century (2015): https://www.ucpress.edu/book/9780520284302/black-london Black Chronicles (NPG/ABP project 2016): https://www.npg.org.uk/whatson/blackchronicles/explore/autograph-abp Christopher Reed, 'A Vogue That Dare Not Speak its Name: Sexual Subculture During the Editorship of Dorothy Todd, 1922–26', Fashion Theory (2006): https://www.tandfonline.com/doi/abs/10.2752/136270406778050996 Patrick Elliott and Sacha Llewellyn, 'True to Life: British Realist Painting in the 1920s & 1930s' (2017): https://www.nationalgalleries.org/shop/all-books/national-galleries-scotland-books/true-life-british-realist-painting-1920s-1930s-exhibition-book Hearts magazine: http://heartsmagazine.net/ Art Smith @ Cooper Hewitt: https://collection.cooperhewitt.org/people/18049319/

Synne Skjulstad er førsteamanuensis ved Westerdals institutt for kommunikasjon og design, Høyskolen Kristiania. Hun er nylig kåret til "årets kunstneriske forsker" ved høyskolen for å ha satt søkelyset på havplast. Dette har hun gjort gjennom en smykkekolleksjon av "seabling", samt publikasjoner og internasjonale foredrag om temaet. Som medie/designforsker har Skjulstad publisert en rekke vitenskapelige artikler i internasjonale tidsskrift, senest i Fashion Theory.

In episode 119, Kestrel welcomes José Teunissen, the Dean of the School of Design and Technology at London College of Fashion, and a Professor of Fashion Theory, to the show. José is also the curator of State Of Fashion 2018 | searching for the new luxury, an exhibition that recently opened in Arnhem, Netherlands, and runs through July 22nd, 2018. "Primarily, I also think this time period will be - it's a paradigm shift, probably a big paradigm shift - maybe it's only the start of it, but I think we are definitely in a period where we start to redefine what fashion is."  -José Teunissen, Curator of State Of Fashion 2018 In this episode, José shares more context on her past experiences with fashion, and how she became intrigued with fashion theory at an early age through exploring the way fashion can reflect a snapshot of culture in different time periods.  Additionally, José explains the approach to this year's State Of Fashion event, and how she and her team wanted to "search for the new luxury" to uncover potential options that could become future solutions.  For José, the fashion industry has lost a bit of control as well as its cultural meaning, and instead has become a system to give people more opportunities to buy new things all the time. State Of Fashion wants to redefine what fashion is, what values it can offer us, and the luxury it can offer us, to be more aligned with the current culture and moment we live in now. The below thoughts, ideas + organizations were brought up in this chat: Anne Hollander, American historian whose writing provided new insights into the history of fashion and costume and their relation to the history of art, an author José was interested in during her earlier explorations of fashion theory Elizabeth Wilson, author who wrote about the importance of the aesthetic in modern life, another writer José studied and read in her earlier explorations of fashion theory ArtEZ, famous fashion program in Arnhem Vin + Omi, "we are not just a fashion label, we are an ideology" Masters Of Change, a group of young designers selected through an open call for State Of Fashion 2018 State Of Fashion Manifesto Iris Van Herpen, a pioneer in using 3D printing as a garment construction technique, featured at State Of Fashion 2018 Elisa van Joolen, has an interactive installation project at State Of Fashion 2018, which explores questions around the relationships we have with our clothing and the value we associate with these garments Bruno Pieters, focuses on transparency and shares all the stories of his supply chain through his web platform, featured at State Of Fashion 2018 Space and Matter, architects who designed the State Of Fashion 2018 exhibition space Featured Artists From IntroVin+Omi, Self-Assembly, Elisa van Joolen and 11.11