2020
DOI: 10.1177/0042098020930937
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Independent fashion designers in the elusive fashion city

Abstract: This article examines the cultural geography of fashion cities, focusing on independent fashion designers’ relationships with their city. Through discussing the Australian city of Brisbane and its place within the hierarchy of fashion cities, we examine the position of modern yet peripheral locations that have what we term an ‘elusive’ fashion identity. The discussion highlights the complexities that make a city a fashion city, specifically the interplay between industry, culture, retail and design, commonly i… Show more

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Cited by 7 publications
(2 citation statements)
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“…Their designers have always maintained their curiosity and spirit of exploring new things. They are willing to try new design elements, new design methods and even new business models in order to seek breakthroughs in design and business [12]. This exploration and attempt of new things makes Balenciaga's design works always at the forefront of fashion.…”
Section: Balenciaga's Strategy and Practice Of Sustaining Innovationmentioning
confidence: 99%
“…Their designers have always maintained their curiosity and spirit of exploring new things. They are willing to try new design elements, new design methods and even new business models in order to seek breakthroughs in design and business [12]. This exploration and attempt of new things makes Balenciaga's design works always at the forefront of fashion.…”
Section: Balenciaga's Strategy and Practice Of Sustaining Innovationmentioning
confidence: 99%
“…Studies of fashion designers as entrepreneurs and their relationship to geographical context have predominantly addressed global North or Westernised contexts (McRobbie, 2016), Australia (Heim et al., 2021; Tuite, 2019), New Zealand (Larner et al., 2007), and Canada (Brydges, 2018). Research on fashion entrepreneurs in the global South – including China (Ferrero‐Regis & Lindgren, 2012), Hong Kong (Skov, 2002) and Bangladesh (Khan, 2019), as well in Africa (Jennings, 2011; Langevang, 2017; Pather, 2015) – reflect wider attempts to de‐Westernise studies of creative labour (Alacovska & Gill, 2019), questioning who can be ‘creative’ (and accrue associated economic value) in fashion as a globalised creative industry (Khan, 2019).…”
Section: Fashion Designers As Creative Entrepreneurs In Africamentioning
confidence: 99%