Fashion, and the growth of fashion, are presented as the manifestation of a process of civilization, within a capitalist culture (capital understood as material possessions) that has become global and imperialist, of which - in an economic sense - the industry (or the fashion system?) functions as one of its main instruments of exploitation. And with respect to design, Arturo Escobar said:
"Can design detach itself from its roots in modernist practices of unsustainability and defuturization and reorient itself towards other commitments, practices, narratives and ontological enactions? Moreover, can design be part of the toolkit for the transition to the pluriverze (i.e. a world in which many worlds can fit)?"
This book presents the importance of cultural sustainability in the textiles and fashion industry, decolonizing fashion system and promotes the design for transitions.
Author(s): Miguel Ángel Gardetti, Rosa Patricia Larios-Francia
Series: Sustainable Textiles: Production, Processing, Manufacturing & Chemistry
Publisher: Springer
Year: 2023
Language: English
Pages: 317
City: Singapore
Preface
Contents
About the Editors
Introduction
1 Decoloniality, Interculturality, Intercultural Justice, Plurinationality, and Racism
2 Crisis of Civilisation, Decolonisation, Design, Fashion, and Textiles
3 Towards Design, Fashion, and Textiles Biocentrism: Wisdom from the Periphery
4 To Conclude: Should Design Programmes Be Decolonised and Indigenised in Terms of Clothing, Fashion, and Textiles?
References
Retrofitting Etro: Robe Design Tradition Through Transition Spaces
1 Introduction
2 Etro’s “New Tradition” and Vintage Garments
3 Accommodating the Robe as a Transitional Garment
4 The Robe’s Fluctuating Function and Transitional Spaces
5 Armoires as Transitory Spaces
6 Retrofitting Etro
References
Communal Design: A Pedrana Approach to Sustainable Fashion
1 Introduction
2 Culture and Sustainability
3 San Pedro La Laguna
4 Municipal Dress
5 Change and Choice
6 Communal Design Practices
7 Collaborative Construction
8 Social Use and Cultural Significance of the Blusa
9 Communal Design
10 Culturally Informed Sustainability
References
Towards an Inclusive Fashion System
1 Introduction
2 Fashion, Modernity and Focus on the New
3 The Origin of Modern Fashion
4 Modern Fashion: A System of Exclusion
5 Global Fashion, Local Tradition: Focus on Regional Heritage, Including Traditions
6 A Divers Eurocentric Fashion System
7 The Future of Fashion is Now: Re-thinking Identity, Values and Heritage
8 State of Fashion: Searching for the New Luxury: Beyond Progress and Novelty
9 A Decolonial Lens on Fashion Studies
10 State of Fashion: Ways of Caring 2022: Multiple Voices
11 Conclusion
References
Frankie Welch’s Cherokee Alphabet Design: Cultural Appreciation or Cultural Appropriation?
1 Biography
2 Iconic Designs
3 Cultural Appropriation or Cultural Appreciation?
4 Interpretation
References
Cultural Fashion a Matter of Human Rights. Cultural Misappropriation as a Human Rights Violation. What is Wrong with the Fashion and Legal Systems and How Can We Make It Right? The Oma Ethnic Group of Nanam Village in Laos Have an Answer
1 Introduction
2 Cultural Fashion at the Intersection of Human Rights and Sustainable Development
3 Framing Cultural Misappropriation in Fashion and Textiles Through the Lens of the 3Cs’ Rule: Consent. Credit. Compensation©
4 Lack of Legal Protection Against Cultural Misappropriation in Fashion and Textiles and Approach in the Oma Case
5 Crafting a Future for Textile-Focused Knowledge Partnerships Between Fashion Stakeholders and Cultural Fashion Experts
References
Fashion and the Ethnographic Museum: A Case Study from The Netherlands
1 Introduction
2 The Ethnographic Museum
2.1 National Museum of World Cultures in the Netherlands
3 Tools of Colonialism
4 Fashion Theories
5 Fashion as Museum Category
6 Decolonization
7 Fashion and Decolonizing the Ethnographic Museum
7.1 Cultural Appropriation
7.2 Heritage as Inspiration
7.3 Local Fashion Styles
8 Conclusion
References
Other Voices: Dynamic Tradition, Empowerment and Andean Fashion in Peru
1 Introduction
2 Tradition Versus Transformation
3 High-Impact Designers
4 Mechanisms to Enhance Dynamism
5 Organizations and Empowerment
6 Conclusions
References
Cultural and Cultural Appropriation Challenges of Indigenous People in the Global Fashion Industry
1 Setting the Stage
2 Cultural and Cultural Appropriation Challenges of Indigenous People in the Global Fashion Industry
References
The Anatomy of One Size Fits All
1 Size 13
2 Size 12
3 Size 11
4 Size 10
5 Size 9
6 Size 8
7 Size 7
8 Size 6
9 Size 5
10 Size 4
11 Size 3
12 Size 2
13 Size 1
14 Size 0
Conversations on Decoloniality and Fashion: Hosting, Listening, (Un)Learning
1 Practising Decoloniality: ‘Engaging in’ Rather Than ‘Consuming of’ Knowledge
2 Making Community: Meeting in Difference
3 We Are All Implicated: Undoing Innocence, Redressing Relationality
4 Creating Space for a Plurality of Voices/Fashioning Systems
References
Fashion and Identity in Virtual Spaces
1 Introduction
2 Digital Identity
3 Changing Fashion Media: Information Dissemination, Sites of Practice, and Actors
4 Ideal Images Constructed in Fashion Media: Fashion as a Device for Transcending Frameworks and Becoming Who We Want to Be
5 Fashion and Identity in Virtual Space
6 The Resurfacing of Animal Crossing
7 Examples of Fashion Practice at “Animal Crossing”
8 Discussion
9 Conclusion
References
Interventions in Traditional Clothing Systems Through Anthropological Perspective
1 Introduction
2 Characteristics of Fashion
3 Institutionalization of Fashion
3.1 Spread of Fashion—Influencing Factors
3.2 Fashion as a Concept and Its Exclusivity in Fashion Studies
3.3 Fashion and Subculture
3.4 Unconventional Aspects of Fashion
4 Fashion Anthropology
5 African Traditional Clothing Styles
5.1 African Wax Prints/Ankara Wax Prints
5.2 Mud Cloth or Bogolanfini
5.3 Kente Cloth
5.4 Adinkra Fabrics
5.5 Traditional Batik of Africa
5.6 African Tie and Dye—Adire
5.7 Significance of African Traditional Clothing Styles
6 Scope for Decolonialization of African Fashion Values
7 Conclusion
References
Foregrounding the Value of Traditional Indian Crafts: Voices from the Fringe
1 Introduction
1.1 Craft in India
1.2 Craft in Relation to Fashion and Design
1.3 Craft: Value and Social Image
2 Artisans: The Unheard Voices
2.1 Cultural Appropriation and Migration
2.2 Design Practices Within Indigenous Craft Communities, Design Schools and Fashion Brands
3 The Craftisan Project
3.1 Structure and Learning Outcomes
3.2 Findings/Development/Analysis/Evidence
3.3 Input and Outcomes
4 Conclusion
References
Change, Imitation and Novelty. Notes on Cosmotechnics and Mass Communication in the Face of Fashion and Its Political Possibilities
1 The Social Phenomenon of Fashion and Systematized Change
2 Fashion, Technology and Communication: A Reflection on Cosmotechnics
3 Macro Historical Contexts: Fashion, Design and Technology
4 Cases and Examples: Fashion, Design and Communication
5 Future Scenarios of Fashion and Its Cosmotechnics
6 Dystopia: Linear Path of Today’s Defuturizing Hegemony
7 Utopia: Other Fashions for Life
8 Conclusions
References
Telling the Indigenous Ghanaian Fashion Cosmovision: The Case of Royal Ahenema Sandals
1 Introduction
2 Fashion System Power Play
2.1 Ghana’s Indigenous Cosmic Worldview
2.2 Developing an Indigenous Fashion System Model
3 Gender Issues in Ahenema Production
4 Toward a Bespoke Fashion Diffusion and Consumption Model
5 Conclusions
References
Artisans, Creativity, and Ethics: “Skill Regimes” in a Mumbai Fashion Export House
1 The Export House as a Global Cultural Institution
2 Occupational Categories and Skill Acquisition Narratives
3 The Flow of Expertise: Or, How Your Gucci Handbag is Made
4 Concluding Remarks: Recognizing Skill Regimes in the Field of Fashion
References
The Fashion Crossroad Method: Political and Epistemological Practices
1 Introduction
2 Advocating for a Fashion Crossroad Method
3 Crossing Knowledge–Designing Images
References
