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Introduction: Placing Sneakers within Sociology

Yuniya Kawamura

Source: Sneakers. Fashion, Gender, and Subculture, 2018, Berg Fashion Library

Book chapter

Footwear is a garment characterized by a long history. In prehistoric times, it was a simple piece of wood or leather and was used to protect the foot. Today shoes are more than functional objects. They convey a wide range of meanings associated with fashion, style, personality, sexualitysexuality, gender, and classclass. (Riello 2006: 1)

Conclusion

Tereza Kuldova

Source: Luxury Indian Fashion. A Social Critique, 2018, Berg Fashion Library

Book chapter

The conclusion reviews the central points of the work, focusing especially on the power dynamics between the producers and designers, the poor and the rich, the rise of expert privilege and the logic of philanthrocapitalism as an instrument of power. It claims that the current philanthrocapitalism that has taken elite India by storm is deeply neo-feudal in its nature while being wrapped up in rhetoric of good intentions. As such it is a telling sign of the times of brutally rising socio-economic

Neo-Feudal Ornamentalism and Elitist Fantasies

Tereza Kuldova

Source: Luxury Indian Fashion. A Social Critique, 2018, Berg Fashion Library

Book chapter

The first chapter introduces the Indian fashion industry, the dominant neo-aristocratic aesthetics in contemporary luxury fashion design and the recent intensification of the business elites’ obsession with displays of opulent Indianness and their desire to master time and space through conspicous displays of status. It walks the reader through three key rituals. First, the interactions between designers and their clients in the studios, where they ‘celebrate Indianness’ together. Second, the fas

Charitable Non-Love and Philanthrocapitalism

Tereza Kuldova

Source: Luxury Indian Fashion. A Social Critique, 2018, Berg Fashion Library

Book chapter

Chapter 4 further develops the theme of power relations between design and craft and between the rich and the poor. Many designers working with craftspeople also run non-governmental organizations to ‘empower’ these workers, while cultivating the rhetoric of ethical business and philanthropy, and offering their customers in addition to luxurious clothing also good conscience. Such NGOs and trusts become effective tools of co-option of the village workforce into the capitalist system and reproduce

On ‘The Street’: A Conceptual History of Street Style Photography

Brent Luvaas

Source: Street Style. An Ethnography of Fashion Blogging, 2018, Berg Fashion Library

Book chapter

‘On street style photographydescription ofthe Street’ is the title of photographer Bill Cunningham, BillCunningham’s long-running weekly column (and now web video series) in the Sunday style section of the New York Times. It was also the title of Amy Arbus’ photo column in the Village Voice throughout the 1980s and 1990s. Midway through the first decade of the new millennium, Scott Schuman began using it as a heading for his posts on The Sartorialist, TheSartorialist website, followed by a ‘…’, t

Introduction: Anthropology, Street Style

Brent Luvaas

Source: Street Style. An Ethnography of Fashion Blogging, 2018, Berg Fashion Library

Book chapter

It was Monday, 26 March 2012, a windy and unseasonably cold afternoon in Center City, Philadelphia. I was standing on the corner of Walnut and 18th Street, a backpack swung over my shoulders, a Panasonic Lumix GF-1 micro-four thirds camera dangling from my neck. My head ached. My teeth were grinding with caffeine. And my eyes were dry and strained from overuse, darting continually back and forth, as I assessed the outfit of every person passing by. I remember being self-conscious about what I was

Dress and Body Image

Sharron J. Lennon, Kim P. Johnson and Nancy A. Rudd

Source: Social Psychology of Dress, 2017, Fairchild Books Library

Book chapter + STUDIO

As you learned in Chapter 6, “Dress and Physical Appearance,” the body is a very important vehicle in the public presentation of oneself to others. We make assessments of others on the basis of body characteristics and configurations, we categorize others (often unknowingly) based on their body size, color, attractiveness, or other physical features, and we often make evaluations and judgments about their worth (real or imagined) once we have assessed and categorized them. The previous chapter we

Dress, Culture, and Society

Joanne B. Eicher and Sandra Lee Evenson

Source: The Visible Self. Global Perspectives on Dress, Culture, and Society, 4th Edition, 2015, Fairchild Books Library

Book chapter

At the conclusion of this chapter, you will be able to:

Written Interpretations of Dress

Joanne B. Eicher and Sandra Lee Evenson

Source: The Visible Self. Global Perspectives on Dress, Culture, and Society, 4th Edition, 2015, Fairchild Books Library

Book chapter

At the conclusion of this chapter, you will be able to:

Introduction: Fashion and Cultural Memory

Heike Jenss

Source: Fashioning Memory. Vintage Style and Youth Culture, 2015, Berg Fashion Library

Book chapter

It is only through our ability to remember that we experience “being/becoming (in time)being” or “becoming” in time, experiences through which we develop a sense of selfsense of self in time and place and in relation to others (see Olick, Vinitzky-Seroussi and Levi 2011: 37). Or in other words, the activating, sharing and shaping of memories together with others is crucial to the formation of identities, the generation of social relations/social relationshipssocial relationships and our experienc

The Empress’s Old Clothes: Biographies of African Dress at the Victoria And Albert Museum

Nicola Stylianou

Source: Dress History. New Directions in Theory and Practice, 2015, Berg Fashion Library

Book chapter

On 20 April 1869 the V&A accessioned a number of objects from Ethiopia including clothes and jewellery that were listed in the museum register as having been given to the museum by the ‘Secretary of State for India’ and ‘belonging formerly to the Queen of Abyssinia’ (V&A 1869). At this time the V&A had not yet been divided into departments with objects being accepted for inclusion in the museum on the grounds of design excellence or as demonstrations of particular techniques. Included in this gif

Introduction: The DIY Ethos

Brent Luvaas

Source: DIY Style. Fashion, Music and Global Digital Cultures, 2012, Berg Fashion Library

Book chapter

First and foremost, we have here a discourse that is authoritarian: one has to express oneself, one has to speak, communicate, cooperate, and so forth.

Introduction to Subcultural Body Style

Therèsa M. Winge

Source: Body Style, 2012, Berg Fashion Library

Book chapter

After World War II, subcultures surfaced with prominence in urban spaces within Western culture (Thompson 1998). Scholars speculate that these subcultures formed because of shared issues and common needs that set them apart from mainstream culture and society (Cohen 1955). Over time, the term “subculture” gained negative connotations for four primary reasons. First, the very term “subculture” has a prefix of “sub,” which suggests something lower or below. Second, subculture members often come fro

Subcultural Body Style History

Therèsa M. Winge

Source: Body Style, 2012, Berg Fashion Library

Book chapter

From the time we are born, the human body is modified for physical, spiritual, psychological, social, and cultural transformations. In fact, prehistoric mummies found in recent years suggest that body practices, modifications, associated supplements, and rituals were significant in the earliest of human cultures (Winge 2003). In 1991 a frozen Stone Age male mummy was found in the Ötztal Alps. Nicknamed Ötzi, this mummy shows evidence of possibly the earliest body modifications ever discovered. Re

Subcultural Body Style and Identity

Therèsa M. Winge

Source: Body Style, 2012, Berg Fashion Library

Book chapter

Each subculture member has individual lived body experiences, which collectively create the generalizations about the subculture’s identity. These generalizations are then further extended to collective ideas about identity regarding the individual member, the specific subculture, and the entirety of all subcultures to some degree. The subcultural body becomes an amalgam of experiences—for example, piercings, tattoos, spiky hair, and propensity toward pain. Furthermore, each subculture has unwrit

Subcultural Body Style

Therèsa M. Winge

Source: Body Style, 2012, Berg Fashion Library

Book chapter

While it may seem contrary to the individualistic nature of subcultures, these groups have style guidelines expected by members. Subcultural groups subtly and visually communicate acceptable dress and styles to current and future members, as well as to outsiders and posers (i.e., individuals who purposefully mimic subcultural dress). Accordingly, Ted Polhemus and Lynn Proctor (1978) state: The dress code of a social group prescribes limits, not absolute uniformity. To suggest that social identity

Future of Subcultural Body Style

Therèsa M. Winge

Source: Body Style, 2012, Berg Fashion Library

Book chapter

Many Western subcultures contribute to and influence contemporary examples of fashion. The Hippie subculture influenced numerous fashion trends, such as embroidered jeans, shawls, and use of the peace symbol. The Punk subculture is credited with many 1980s fashion trends, such as distressed jeans, safety pin accessories, and band buttons or pins. During the past few decades, the Urban Tribal movement influenced contemporary body fashions with the use and display of body modifications, technologie

Clothes and Cultural Identities: Music, Ethnicity and Nation

Janice Miller

Source: Fashion and Music, 2011, Berg Fashion Library

Book chapter

Martin Stokes contends that music has provided a means by which individuals and communities come to understand themselves in relation to other groups with whom they contrast themselves, thus establishing the ‘difference between’. Therefore, he argues that ‘music is socially meaningful not entirely, but largely because it provides means by which people recognise identities and places and the boundaries which separate them’ (Stokes 1994: 5).

Indian Madras: From Currency to Identity

Sandra Lee Evenson

Source: Berg Encyclopedia of World Dress and Fashion. Global Perspectives, 2010, Berg Fashion Library

Encyclopedia entry

Indian madras plaids are a grouping of yarn-dyed cotton fabrics woven in South India, often by hand. India has a long history of producing cotton fabrics for export markets, dating from at least the first century c.e. and perhaps as early as 3000 b.c.e. Variations on the basic checked or plaid cotton fabric are known by many names including lungi, telia rumal, real madras handkerchief (RMHK), injiri, george cloth, bleeding madras, and Indian madras, representing their use in Southeast Asia, Afric

Biographies in Dress

Emma Tarlo

Source: Visibly Muslim. Fashion, Politics, Faith, 4th Edition, 2010, Berg Fashion Library

Book chapter

Rezia Wahid’s biography demonstrates the breadth and combination of ideological, sensual and visual resources on which she has drawn in the development of her personal aesthetic in dress and textile art. It is an aesthetic born chiefly out of the creative interplay of distant memories of Bangladesh and concrete experiences of Britain and Islam.

Geographies of Hijab

Emma Tarlo

Source: Visibly Muslim. Fashion, Politics, Faith, 4th Edition, 2010, Berg Fashion Library

Book chapter

A hairdressing salon in a quiet residential neighbourhood of North West London may not seem an obvious place for thinking about hijab, for this is a neighbourhood more noticeable for the whiteness of its inhabitants than for its multiculturalism. But hairdressing salons are interesting places for the easy flow of interaction and conversation they encourage. What follows is an account of how, why and to what effect the hijab became a topic of interest and concern in one particular neighbourhood sa

Navigations of Style

Emma Tarlo

Source: Visibly Muslim. Fashion, Politics, Faith, 4th Edition, 2010, Berg Fashion Library

Book chapter

The hijab, as we have already seen, is fraught with contradictory interpretations and expectations and nowhere is this more apparent than in hijabi women’s own discourses on the subject. On the one hand many are anxious to specify that the hijab ‘is just a piece of cloth’—a simple bit of fabric wrapped around the head. They are therefore highly critical of the so-called fetishization of hijab in the media. On the other hand a huge amount of time, energy and reflection is spent discussing personal

Covering Concerns

Emma Tarlo

Source: Visibly Muslim. Fashion, Politics, Faith, 4th Edition, 2010, Berg Fashion Library

Book chapter

Russell Square tube station, 9.30 a.m., June 2007. A robed figure steps into the tube train. She is wearing a long free-flowing black abaya which sweeps from her shoulders to the floor. Her head is bound with a tight black headscarf, her face covered with a black face veil (niqab), tied at the back. Her eyes briefly scan her surroundings through the narrow slit of her niqab. She carries a large and noticeably stylish grey bag containing books and a file. She is probably a student. A middle-aged m

Islamic Fashion Scape

Emma Tarlo

Source: Visibly Muslim. Fashion, Politics, Faith, 4th Edition, 2010, Berg Fashion Library

Book chapter

If there is one factor that the first generation of British Islamic fashion designers share in common it is an understanding of the clothing dilemmas of young Muslims living in the West who wish to dress in ways that are fashionable and modern on the one hand and faithful and modest on the other. It is a dilemma which most designers learned, not so much through savvy market research and economic foresight, as from their own highly personal experiences of being unable to find clothes which express

Collection L

Maja Gunn

Source: Fashion in Fiction. Text and Clothing in Literature, Film, and Television, 2009, Berg Fashion Library

Book chapter

The word “lesbian” has historically often been used as a disparaging term (Aldrich 2006). But there have been other words for explaining the attraction between women. The identification with the word “lesbianism” for the contributors of Collection L was varied. For example, “Alex” (Figure 10.1) noted that women sometimes refuse the socially imposed lesbian category. Others proudly make use of the term: I don’t identify myself as a lesbian. For me lesbian is not something negative, but it is somet

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