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In the first comprehensive study of the interactions between fashion, performance and performativity, a group of international experts explore fashion as the ideal 'complex space' - or, in other words, the ideal space where performance and performativity come together, according to the works of seminal theorists Eve Kosofsky Sedgwick and Andrew Parker.
Bringing together western and non-western, historical and contemporary case studies and theories, the book explores the magazines, photography, exhibitions, global colonial divides, digital media, and more, which have become key markers of the fashion industry as we know it today.
Using existing literature as a springboard and incorporating perspectives from fashion studies, art history, media studies and gender studies, as well as from artists and practitioners,
Fashion, Performance, and Performativity is an innovative and essential work for students, scholars and practitioners across multiple disciplines.
List of contents
List of Illustrations
Acknowledgements
Introduction
Andrea Kollnitz and Marco Pecorari
Transformations and Translations1. Leigh Bowery and Judith Butler: Between Performance and Performativity
Francesca Granata
2. The Emirati burqa. 'An Intimate Object' from a Cultural, Historical and Contemporary Art Perspective.
Karima Al Shomely
3. Written In The Voice: Tommy Roberts and the Oral History of British Fashion - a Case Study in Vocality, the Narratable Self, and Memory.
Paul Jobling
Stages and Places4. In Store(d) Behaviors: Tsuneko Taniuchi's Poetics of Clothed Performance.
Emmanuel Cohen
5. The Fashioned Female Body, Performativity and the Bare Flaneuse.
Jacki Willson
6. Colonies and Clothing: The Uses of Fashion in Interwar France and West Africa.
Victoria L. Rovine
7. From Lil Miquela to Shudu: Digital Slavery and the 21st-Century Racialized Performance of Identity Politics.
Jonathan Michael Square
Models and Poses8. The Utopian 'No-Place' of the Fashion Photograph.
Karen de Perthuis
9. Italian Fashion Models. Rethinking the Discourse on National Identity.
Gabriele Monti
10. Films with A Venegance: Lesbian Desire and Hyper-Violence in the Fashion Film, 2009-2012.
Louise Wallenberg
11. Male Gender Performance and Regency Fashion Writing.
Royce Mahawatte
List of Contributors
Index
About the author
Andrea Kollnitz is Associate Professor in art history at the Institution for Culture and Aesthetics, and former senior lecturer at the Centre for Fashion studies at Stockholm University. Her current research is focused on the self-fashioning of the avant-garde artist; nationalist visual and textual fashion and art discourse, fashion photography and caricature. She is co-editor, with Marco Pecorari, of Fashion, Performance and Performativity (Bloomsbury, forthcoming), and, with Louise Wallenberg, of Fashion and Modernism (Bloomsbury, 2018).Marco Pecorari is Assistant Professor at Parsons Paris, The New School, France.
Summary
In the first comprehensive study of the interactions between fashion, performance and performativity, a group of international experts explore fashion as the ideal ‘complex space’ – or, in other words, the ideal space where performance and performativity come together, according to the works of seminal theorists Eve Kosofsky Sedgwick and Andrew Parker.
Bringing together western and non-western, historical and contemporary case studies and theories, the book explores the magazines, photography, exhibitions, global colonial divides, digital media, and more, which have become key markers of the fashion industry as we know it today.
Using existing literature as a springboard and incorporating perspectives from fashion studies, art history, media studies and gender studies, as well as from artists and practitioners, Fashion, Performance, and Performativity is an innovative and essential work for students, scholars and practitioners across multiple disciplines.
Additional text
Fashion, Performance, and Performativity is one of those rare collections that provide radical new directions for a discipline. Kollnitz and Pecorari and their contributors show how fashion is an affective agent, revitalizing debates about the use and meaning of clothing in society. This timely book provides fashion scholars with new tools for analyzing sartorial activism.
