The Looks of Austerity: Fashions for Hard Times

Gilbert, David A.

doi:10.1080/1362704x.2017.1316057

Cited by 5 publications

(3 citation statements)

References 30 publications

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“…Geographers are increasingly applying creative methodologies to apprehend the intersecting scales of fashion, from "getting close to clothes" (Bide 2019) to using Lego to restage and think through difficult conversations and exchanges associated with the catastrophic Rana Plaza garment complex collapse in April 2013 (Cook et al 2018). Most recently geographers have been at the forefront of rethinking the fashion city and fashion's connection to the urban (Bide 2020;Gilbert and Casadei 2020) and are also beginning to think through the ways austerity (Gilbert 2017;Hall and Jayne 2016), the internet (Brydges and Hracs 2018;Luvaas 2018) and Covid-19 (Brydges and Hanlon 2020;Lawreniuk 2020) are transforming the fashion industry and consumers. The overlapping temporalities and terrains-earthly, industrial and atmospheric-evinced through these various geographies à la mode, are testament to the pertinence of a geographic perspective on, and practices with, fashion and style.…”

Section: Geographies à La Modementioning

confidence: 99%

Geographies of Fashion and Style: Setting the Scene

Patchett

Williams²

2021

GeoHumanities

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The papers assembled in this forum examine the Geographies of Fashion and Style through texts, visual images, material objects and processes of growing and making, as lived experiences and performative practices and, crucially, as concepts and practices that travel and mutate over time and place. In this introduction, we chart the Eurocentric cultural episteme of the fashion industry and fashion studies and dismantle it by drawing on, and out, globally-orientated and decentered approaches to the study of fashion and style. Our contribution to debates on fashion and style is to draw out five impulses arising at the intersections of geography and fashion studies and which our collection of papers brings to the fore: Theorizing, Queering, Decolonizing, Ecologizing, and Curating. In doing so, our introduction foregrounds the significance of fashion and style as sites of (micro) political problems and potentials, and is a call and a framework through which to extend and take seriously the diverse processes of fashion and style as sentient to the broader themes and scholarship of concern in the geohumanities.

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Section: Geographies à La Modementioning

confidence: 99%

Geographies of Fashion and Style: Setting the Scene

Patchett

Williams²

2021

GeoHumanities

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“…Connor-Crabb (2017) examined three tools for sustainable fashion design through interviews with the tool developers to determine barriers and opportunities for tool use. The majority of the literature discusses the development of a particular tool, predominately through the description of case studies (Aakko & Koskennurmi-Sivonen, 2013;Connor-Crabb, 2017;Gilbert, 2017;Gwilt, 2015;Hasling & Raebild, 2017;Jin Gam et al, 2009;Raebild & Hasling, 2018;Williams, 2013). Other studies have identified barriers for designers adopting these tools for sustainable design.…”

Section: Introductionmentioning

confidence: 99%

The Responsible Fashion System: a Re-Conceptualization of the Role of Fashion Design

Kozlowski¹

2023

Preprint

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Sustainable fashion has developed as a response to the growing prominence and awareness of the negative environmental and social impacts of fashion apparel throughout its life cycle. Responses to these wide-scale impacts have focused on piecemeal strategies that lack a cohesive perspective. The notion of design thinking and a holistic viewpoint are increasingly being seen as valued strategies for developing a sustainable fashion system. Fashion designers generally lack the tools to enable change and are caught within a system that cannot fulfill the potential of design-driven solutions for sustainability. Transformations to the design process, business practices, consumer behaviours and supply-chain sustainability are needed. This dissertation presents a series of manuscripts investigating a re-conceptualization of fashion design for system sustainability. Concepts put forth in the first manuscript, Theorizing the Fashion System provide context for a design focus. This study reviews existing theories of fashion production and consumption, for the purpose of establishing a theoretical framework to support subsequent research and tool design. The second manuscript Tools for Sustainable Fashion Design: An Analysis of their Fitness for Purpose examines existing design tools developed specifically for sustainable fashion designers. This research led to the creation and proposal of two conceptual frameworks: an innovation framework and five-dimensional model of sustainable fashion. Using the frameworks to analyze the tools and sustainable strategies within the tools resulted in the identification of three tool archetypes: 1) Universal, 2) Participatory and 3) Assessment. The third manuscript investigates and analyzes current design practices of sustainable fashion micro and small enterprises (MSE) and available sustainable design tools. The fourth manuscript, The reDesign Canvas: Fashion Design as a Tool for Sustainability, is a qualitative in-depth case study with a small fashion start-up. Utilizing observations in the field, interviews and design sessions, this study was able to identify leverage points within the design process to integrate sustainable strategies. The data collected informed the development of a sustainable fashion design tool, the reDesign Canvas. This framework was tested and refined with the case study. This work aims to contribute a reconceptualization of the fashion design process to provide designers with the tools necessary to achieve a sustainable fashion system.

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“…Taylor noted that as a country enters recession, women often show a preference towards longer dresses. On the other hand during times of prosperity, the opposite result can be seen -hemlines (the level of the lower edge of a garment such as a skirt, dress or coat) often become shorter [1]. Our dress sense is quite important to our reputation, because the clothes we wear send powerful signals to our peers and strangers, projecting the self image of us that we want to display.…”

Section: Introductionmentioning

confidence: 99%

The psychology of clothing

Kodžoman

2019

TLR

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We select clothes that we’re purchasing and wearing according to the meaning we believe them to have, or the messages we believe them to send. But what are psychological consequences of clothing, and how does clothing express something about the user? To assess the state of knowledge about the communicative nature of fashion, the aim of this review was to provide a concise and succinct literature overview of over twenty empirical studies of the above-mentioned concept. The psychology behind clothing is classified into 3 thematic categories in this paper: a) the meaning of colors in clothing psychology; b) the socio-psycological impact of clothing; and c) gender (in)equality regarding clothing. Finally the last chapter brings a concise study of a few recent fashion shows, brands and trends. It is doubtless that both clothing and appearance serve as an important socializing influence and a form of communication.

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The Looks of Austerity: Fashions for Hard Times

Cited by 5 publications

References 30 publications

Geographies of Fashion and Style: Setting the Scene

Geographies of Fashion and Style: Setting the Scene

The Responsible Fashion System: a Re-Conceptualization of the Role of Fashion Design

The psychology of clothing

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