Introduction and Critical Studies in Global Fashion
- Submitting institution
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London Metropolitan University
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 33.32
- Type
- D - Journal article
- DOI
-
-
- Title of journal
- ZoneModa Journal
- Article number
- -
- First page
- 5 and 71
- Volume
- 9
- Issue
- -
- ISSN
- 2611-0563
- Open access status
- Compliant
- Month of publication
- December
- Year of publication
- 2019
- URL
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https://zmj.unibo.it/article/view/10066/10168
- Supplementary information
-
-
- Request cross-referral to
- -
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
-
-
- Research group(s)
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2 - The Centre for Creative Arts, Cultures and Engagement
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- The idea of a special issue on Global Fashion (edited by Wessie Ling, Mariella Lorusso, Simona Segre Reinach) was developed from my on-going research in fashion-making in/from/with China and concurrent with my Rita Bolland Fellowship (RBF) for Textile, Dress and Fashion Studies (2018/9) at the Research Center for Material Culture with which I was tasked to incorporate global fashion in the ethnographic setting of the museum. The issue scrutinises global fashion as an interconnected force typified by the flow of histories, traditions, people, objects and ideas, challenging it as a stagnant topic and presumed purity of styles outside of Euro-America. Alongside nine articles inquiring different places and space (including Brazil, China, Zambia, the Netherlands, Italy, Papua New Guinea) from a transdisciplinary perspective, I led the introductory article to instil a new wave of global fashion studies that encapsulates glocal, historical, linguistic, sociocultural, anthropological, and postcolonial and de-colonising discourses in the increasingly multifaceted agendas of fashion studies. As the first editor, I reviewed and selected contributors’ work, with at least one joint-editor, and coordinated with authors and reviewers from initial proposal stage to final submission. Each article underwent a mandatory double blind review process. Based on archival and primary research with my RBF, my co-authored article with the National Museum of World Cultures’ (NMVW) curator underlines the ambivalence and contradictions in material culture through the politicisation of histories. Out of which global fashion is taken as a conceptual framework and a tool for the everyday handling of ethnographic artefacts. The framework was further disseminated as a research seminar to the curatorial staff at the Victoria and Albert Museum (Mar 2020). NMVW has adopted it for new acquisitions of contemporary Hong Kong design objects, which are now part of the permanent exhibition, Tropenmuseum: What’s the Story? (from July 2020) at Tropenmuseum Amsterdam.
- Author contribution statement
- -
- Non-English
- No
- English abstract
- -