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 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.
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.
Conceptually, the slow food movement provides the point of departure for this article, which asks if the slow approach can offer a sustainable solution for fashion. Three "lines of reflection" are ...addressed: the valuing of local resources and distributed economies; transparent production systems with less intermediation between producer and consumer; and sustainable and sensorial products that have a longer usable life and are more highly valued than typical "consumables." Each is investigated using examples that together address the possible global dominance of fast fashion, provide more sustainable ways of approaching fashion, and concentrate on the implication of fashion as actual material garments, which are used and discarded. The approaches mentioned simultaneously challenge existing hierarchies of designer, producer, and consumer; question the notion of fashion being concerned exclusively with the new; confront fashion's reliance on image; present fashion as a choice rather than as a mandate; and highlight collaborative/cooperative work-providing agency especially to women.
The final section of the book, looking at the place of kinship and transnational capitalism, benefits from the authors’ individual research interests and brings us closest to Krause's presentation of ...the wider kinship links of Chinese families working in Prato. In particular, the Made in Italy brand has benefited from the recent growth of the luxury fashion market in China, which has led, in turn, to the location of more Chinese firms on Italian soil. Attention is drawn to the global circulation of children, perpetuated when many babies born to Chinese parents in Prato are sent back to China to be raised by their extended family. ...the kinship networks of Chinese families span the globe and secure bonds across generations, while providing parents with the time and more effective ability to gain incomes overseas. The scale and nature of the production of textiles and clothing and their transmission into fashion also brought to mind Thuy Tu's analysis of the ties in the Asian American families involved in the cultural economy of fashion in the 1990s.3 Back in Prato, the third section of the book reveals not just the isolation and lack of assimilation by Chinese workers but also the existence of racism in a segregated city that struggles with how to accommodate the globalization of fashion and garment work.
Building on ideas I first published in 2008 as, "Slow + Fashion - An Oxymoron or a Promise for the Future...?", this paper brings new insights to the value of a slow approach to fashion. The cases ...explored for that research indicated the significant role of women practitioners. As a consequence, further investigation and thinking leads me to propose here a development of the slow + fashion discourse that respects and is informed by feminine strategies and values, or what I am choosing to call women's wisdom. In this paper, the work of women thinkers, scholars and design professionals is discussed to explore the potential of developing further the "+" of slow + fashion and to draw from and value the long-established existence of beliefs and methods common to women that can also pre-date and transcend capitalism, modernity, and Eurocentricity, and which are not formed on the basis of patriarchy. Attention is drawn to everyday values, history, sensory studies, micro-phenomenology, and fashion design practices that indicate the potential for a system change in fashion. Implicit is a shift in worldview to challenge the fashion status quo, and to introduce different economic logic, business models, values and processes than those that currently dominate the fashion system. The paper demonstrates that models already exist in theories and practices which have been devised and applied by women. It concludes that women's wisdom added to a slow + fashion can contribute to establishing much needed sets of principles to move us forward and change perspectives.
Dario Calmese is a New York-based artist. photographer. writer, visual director and brand consultant. His show direction for the fashion brand Pyer Moss has hailed in Vogue and The New York Times. In ...July 2020, his picture of Viola Davis made him the first Black photographer to produce a cover for Vanity Fair. .
Objective. To quantify the relationship between arterial stiffness and cumulative inflammatory burden in patients with RA. Methods. We recruited RA patients without overt arterial disease aged 40–65 ...years, attending hospital rheumatology outpatient clinics. Standardized research nurse assessment included blood pressure (BP), pulse wave analysis (PWA, SphygmoCor), BMI, fasting blood sample (lipids, glucose, RF and ESR), patient questionnaire (smoking, alcohol, diet, exercise, family history of premature coronary heart disease and Stanford HAQ), current medication and medical record review. Cumulative inflammatory burden was measured as ESR area-under-the-curve (ESR-years) extracted from medical records. Arterial stiffness was measured using PWA aortic augmentation index (AIX@75). Multiple linear regression was used to adjust for age, sex and nine other cardiovascular risk factors. Results. We recruited 114 RA patients (mean age 54 years, female 81%, current DMARD 90%, current NSAID 70%, ACR criteria 56%) comprising 1040 RA person-years. Cholesterol, glucose and BMI were similar in women and men. Women had a longer duration of arthritis (10 vs 7 years) and were more likely to be seropositive (85 vs 71%). BP, smoking and alcohol consumption were lower for women. On fully adjusted analysis, an increase of 100 ESR-years was associated with an increase in AIX@75 of 0.51 (95% CI 0.13, 0.88). On fully adjusted analysis restricted to women the increase was 0.43 (95% CI 0.01, 0.85). Conclusions. In RA patients free of overt arterial disease, a dose–response relationship exists between cumulative inflammatory burden and arterial stiffness. This relationship is independent of established CV risk factors.
The Fabric of Cultures Paulicelli, Eugenia; Clark, Hazel
2009, 20090602, 2008, 2008-09-26, 2009-06-02, 20090101
eBook
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.
List of Figures Notes on Contributors Acknowledgements Introduction Eugenia Paulicelli and Hazel Clark 1. From Potlach to Wal-Mart: Courtly and Capitalist Hierarchies through Dress Jane Schneider 2. Dressing the Nation: Indian Cinema Costume and the Making of a National Fashion, 1947-1957 Rachel Morris 3. Made in America: Paris, New York, and Postwar Fashion Photography Helena Cunha Ribeiro 4. Framing the Self, Staging Identity: Clothing and Italian Style in the Films of Michelangelo Antonioni (1950-1964) Eugenia Paulicelli 5. The Art of Dressing. Body, Gender and Discourse on fashion in Soviet Russia in the 1950s and 1960s Olga Gurova 6. Making Modernity Appropriate and Tradition Fashionable: Debates about Dress, Identity, and Gender in Ho Chi Minh City Ann Marie Leshkowich 7. Youth, Gender, and Secondhand Clothing in Lusaka, Zambia: Local and Global Styles Karen Tranberg Hansen 8. Fashion Design and Technologies in a Global Context Michiel Scheffer 9. Fabricating Greekness: from Fustanella to the Glossy Page Michael Skafidas 10. Fashion Brazil: South American Style, Culture and Industry Valéria Brandini 11. Fashioning "China Style" in the Twenty First Century Hazel Clark 12. From Factories to Fashion: An Intern’s Experience of a Global Fashion Capital Christina H. Moon Index
Eugenia Paulicelli is Professor of Italian, Comparative Literature and Women’s Studies at Queens College and the Graduate Center of the City University of New York. She is also Co-Director of the Graduate Center Fashion Studies Concentration. Her recent publications include Fashion under Fascism: Beyond the Black Shirt (2004) and her articles on fashion have appeared in the journals, Fashion Theory and Gender & History .
Hazel Clark is Dean, School of Art and Design History and Theory, Parsons The New School for Design, New York. She is a design historian and theorist, with a specialist interest in fashion, design and cultural identity. She is the author of The Cheongsam (2000) and co-editor, with A. Palmer of Old Clothes, New Looks: Second Hand Fashion (2005).
Pulse wave analysis (PWA) using applanation tonometry is a non-invasive technique for assessing cardiovascular function. It produces three important indices: ejection duration index (ED%), ...augmentation index adjusted for heart rate (AIX@75), and subendocardial viability ratio (SEVR%). The aim of this study was to assess within- and between-observer repeatability of these measurements. After resting supine for 15 minutes, 20 ambulant patients (16 male) in sinus rhythm underwent four PWA measurements on a single occasion. Two nurses (A & B) independently and alternately undertook PWA measurements using the same equipment (Omron HEM-757; SphygmoCor with Millar hand-held tonometer) blind to the other nurse's PWA measurements. Within- and between-observer differences were analysed using the Bland-Altman `limits of agreement' approach (mean difference ± 2 standard deviations, 2SD). Mean age was 56 (blood pressure, BP 136/79; pulse rate 64). BP/PWA measurements remained stable during assessment. Based on the average of two PWA measurements the mean ± 2SD between-observer difference in ED% was 0.3 ± 2.0; AIX@75 1.0 ± 3.9; and SEVR% 1.7 ± 14.2. Based on a single PWA measurement the between-observer difference was ED% 0.3 ± 3.3; AIX@75 1.7 ± 6.9; and SEVR% 0.6 ± 22.6. Within-observer differences for nurse-A were ED% 0.0 ± 5.4; AIX@75 1.5 ± 7.0; and SEVR% 1.7 ± 39.0 (nurse-B: 0.1 ± 3.8; 0.1 ± 8.0; and 0.6 ± 23.3, respectively). PWA demonstrates high levels of repeatability even when used by relatively inexperienced staff and has the potential to be included in the routine cardiovascular assessment of ambulant patients.
PDF
