If you just can't decide what to wear, this enlightening guide will lead you through the diverse and sometimes contradictory aspects of fashion in a series of lively, entertaining and thoughtful essays from prominent philosophers and writers. A unique and enlightening insight into the underlying philosophy behind the power of fashion Contributions address issues in fashion from a variety of viewpoints, including aesthetics, the nature of fashion and fashionability, ethics, gender and identity politics, and design Includes (...) a foreword by Jennifer Baumgardner, feminist author, activist and cultural critic, editor of Ms magazine and regular contributor to major women's magazines including Glamour and Marie-Claire. (shrink)

This article explores Nicolas Malebranche's approach to fashion: an inescapable postlapsarian consequence of God's sociable design of the human mind and body as manifested in the imagination. A problematic side effect of the general laws established by God governing the soul-body relationship, fashion wreaked havoc on individuals' thinking and potential for redemption yet pointed to a larger providential plan for social benefit. These ideas led Malebranche to a distinctive nonpolitical approach to fashion—both “Enlightenment project” and theodicy—in which (...) he sought to promote, toward human liberation and salvation, an enlightened understanding of the processes that created fashion and a charitable approach to managing it. Ultimately, however, his brain-based analysis ended up limiting individual freedoms (imaginative, cognitive, and behavioral), notably for those endowed with certain kinds of minds, in ways that had long-lasting effect. It also helped lay foundations for the Enlightenment's conflicted views about fashion as individual folly and beneficial social phenomenon. -/- Cet article montre que, pour Nicolas Malebranche, la mode constitua une conséquence inévitable de la Chute et du dessin sociable et providentiel de l'esprit et du corps, manifesté dans l'imagination. Effet secondaire et problématique des lois générales établies par Dieu pour gouverner les relations entre l'esprit et le corps, la mode entrave la réflexion et l'accès au salut tout en dessinant un plan providentiel, au bénéfice de tous. A la fois projet des Lumières et théodicée, cette approche apolitique s'efforce, dans une visée mêlant libération, salut et charité, de saisir les processus qui créent la mode afin de s'en accommoder. Parce qu'elle met l'accent sur le cerveau, cette approche tend pourtant à restreindre, de manière durable, les libertés individuelles (imagination, cognition, comportement), surtout pour certains types d'esprit. Et elle montre comment, pour les Lumières, la mode peut être à la fois une folie individuelle et un phénomène à multiples vertus sociales. -/- Copyright 2022 by Society for French Historical Studies. (shrink)

What can fashionable ideas, blind faith, or pure fantasy possibly have to do with the scientific quest to understand the universe? Surely, theoretical physicists are immune to mere trends, dogmatic beliefs, or flights of fancy? In fact, acclaimed physicist and best-selling author Roger Penrose argues that researchers working at the extreme frontiers of physics are just as susceptible to these forces as anyone else. In this provocative book, he argues that fashion, faith, and fantasy, while sometimes productive and even (...) essential in physics, may be leading today's researchers astray in three of the field's most important areas--string theory, quantum mechanics, and cosmology... The result is an important critique of some of the most significant developments in physics today from one of its most eminent figures."--Jacket. (shrink)

This essay offers resources for the development of visual ethics by exploring Islamic fashion-veiling in one context: contemporary Indonesia. After providing a methodological framework and historical background for the case study, the moral discourse of two aesthetic authorities is discussed via a fashion blogger and print advice literature. The essay identifies how the practice of fashion-veiling generates norms, what is defined as morally valuable in this practice and why, and how this practice both offers opportunities for the (...) critique and the reinforcement of gendered norms. (shrink)

Fashion is an important source for shedding light on modern aesthetic experience. Not only does fashion represent concrete aesthetic quality that reveals the spirit of the times, but it also epitomizes the social relations in liaison with the aesthetic taste of the times. This essay discusses the relationship between Georg Simmel’s sociological aesthetics and Hegel’s dialectics, demonstrates fashion as a domain in which subject-object relations are operative, and shows how fashion hypostatizes the dialectical relations between mind (...) and body and between the individual and the collective while connecting subject and object. (shrink)

John J. Stuhr, a leading voice in American philosophy, sets forth a view of pragmatism as a personal work of art or fashion. Stuhr develops his pragmatism by putting pluralism forward, setting aside absolutism and nihilism, opening new perspectives on democracy, and focusing on love. He creates a space for a philosophy that is liable to failure and that is experimental, pluralist, relativist, radically empirical, radically democratic, and absurd. Full color illustrations enhance this lyrical commitment to a new version (...) of pragmatism. (shrink)

Revered as the ‘Queen of Qawwali’ and ‘Queen of Sufi music’, sixty-seven-year-old Abida Parveen is a spiritual phenomenon who transcends gender while performing. She is known for her signature fashion style of buttoned-up masculine-cut kurta with matching shalwar and an ajrak shawl. Her aesthetic circulates within transnational and national fashion media and popular cultural spaces through descriptors such as androgynous, masculine, modest, indigenous and sacred. As a highly respected figure with widely circulating performances on both the national and (...) international stages, as well through multiple media circuits, including television, social/digital media and broadcast concerts, Parveen's undeniable fame and her transgressive entry into an otherwise male-dominated music genre raises important questions about gender, embodiment, spirituality and the sacred. In analysing Parveen's body and dress in performance, I centre her sartorial style as sites of spirituality and affect to ask: what does it mean for Parveen to transcend gender through a performance of androgynous Sufism and mobilise it as an entry way into spiritual iconism? What imaginations around spirituality and the sacred become available through Parveen's sartorial practices? How does Parveen's style offer an alternative route to Muslim spirituality? Taking up Parveen's embodied coagulation between fashion and the sacred reveals an absence in feminist fashion studies on which subjects and styles are viewed as important, relevant, resistant or transgressive and thus worthy of theorisation. As a feminist scholar interested in the relationship between gender, power and self/representation, I see Parveen as a key global cultural and spiritual figure who necessitates transnational feminist analysis. This article is situated at the intersections of fashion and cultural studies, feminist, queer and trans spiritualities and South Asia studies. (shrink)

This paper offers personal reflections on the fashioning of the history of science in Europe. It presents the history of science as a discipline emerging in the twentieth century from an intellectual and political context of great complexity, and concludes with a plea for tolerance and pluralism in historiographical methods and approaches.

Leandra Medine indicates that she wants the Man Repeller multi-author blog to ‘serve as an open forum for women to draw their own conclusions’ instead of making ‘any sort of feministic statement’. Medine renders feminism as amorphous and an individual choice but she has been widely lauded for offering a feminist engagement in fashion. Her practices and position, as I argue throughout this article, allow her to fashion feminism, including associating feminism with the man repeller style and replacing (...) aspects of second wave and rights-based feminisms with the purportedly more equitable and liberating website ethos of choice and equality feminism. Yet in replacing ‘feministic’ critiques with promises of stylish cultural change and clothing that reportedly repels men, Medine and other Man Repeller authors elide how systemic oppression functions. This ambivalent relationship to feminism, and dearth of intersectional advocacy, prompted a backlash in 2020. Critics interrogated Medine's facile statement about #BlackLivesMatter, the company's lack of diversity and the unsuccessful restructuring of the blog. As a means of analysing Man Repeller, I employ textual analysis, feminist and queer literature and media theory. I define fashioning feminism as a collaborative and ongoing process of producing feminist positions and thinking, including the negation of certain forms of feminism. I assert that attending to the fashioning of feminism can foreground central and developing feminist theories; the appeal, unstylishness and effacement of feminism; and the connection between style and politics. This includes readers’ interrogations of Man Repeller's politics, which are occurring along with contemporary examinations of racism. Since fashioning feminism is a collaborative and ongoing process of producing feminist positions and thought, engaging with its concepts and debates can further the critical study of feminism, nurture feminist conversations and advocate for social change. (shrink)

Fashion is defined by an infinite variation of a single tautology … stripped of content, but not of meaning. A kind of machine for maintaining meaning without ever fixing it, it is forever a disappointed meaning. … [I]t … becomes the spectacle human beings grant themselves of their power to make the insignificant signify; Fashion then appears as an exemplary form of the general act of signification, thus rejoining the very being of literature which is to offer to (...) read not the meaning of things but their signification.Meaning is distributed according to a kind of revolutionary grace; its power becomes so autonomous that it can act at a distance and in the end dissolve substance itself. … [M]eaning denies substance... (shrink)

For any market to work properly, certain key elements are necessary: competition, pricing, rules, clearly defined offers, and easy access to information. Without these components, there would be chaos. Orderly Fashion examines how order is maintained in the different interconnected consumer, producer, and credit markets of the global fashion industry. From retailers in Sweden and the United Kingdom to producers in India and Turkey, Patrik Aspers focuses on branded garment retailers--chains such as Gap, H&M, Old Navy, Topshop, and (...) Zara. Aspers investigates these retailers' interactions and competition in the consumer market for fashion garments, traces connections between producer and consumer markets, and demonstrates why market order is best understood through an analysis of its different forms of social construction. Emphasizing consumption rather than production, Aspers considers the larger retailers' roles as buyers in the production market of garments, and as potential objects of investment in financial markets. He shows how markets overlap and intertwine and he defines two types of markets--status markets and standard markets. In status markets, market order is related to the identities of the participating actors more than the quality of the goods, whereas in standard markets the opposite holds true. Looking at how identities, products, and values create the ordered economic markets of the global fashion business, Orderly Fashion has wide implications for all modern markets, regardless of industry. (shrink)

Borrowing some of Aby Warburg’s methods from his Mnemosyne Atlas, this paper experiments with an anti-linear, non-teleological method of writing fashion history. It investigates fashion movement, gesture and pose, and their afterlife in images and objects. It thus looks at the intersection of time and the gesture, particularly in relation to the idea of the ‘now’, a central organising principle of fashion. To this end, it juxtaposes images of the body in motion from a wide range of (...) sources, including scientific photography, etiquette manuals and fashion magazines. Spanning three centuries, though not chronologically, the images show a range of activities: not only fashion posing, but also tennis-playing, duelling, dancing, military marching, social gestures, and going to the races. The paper proposes that each image is charged with some quality or attribute that is also immanent in one or more of the others, even though they have no causal or temporal relationship. (shrink)

The Straight Edge hardcore movement at the end of the twentieth century managed to achieve a remarkable inversion of lifestyle values. Turning their lifestyle choice of no drinking, smoking, and drugs into a cool thing, not a good thing, they exposed how rebellious ethics mixed with anger and aggressive youth culture can make a powerful and energetic mix. Their inversion of the lifestyle values of the rebel and hedonist generation just before them could in turn be folded upon itself in (...) continuously new ways, turning anger toward many social ills into processes of awareness-raising as well as social mobilization. In the realm of fashion, could a utopia of sustainable consumerism perhaps also be folded and queered in... (shrink)

“Power dressing,” itself a women’s dress reform movement, as it came to be called in the 1970s, used to distinguish typical feminine dress styles and was seen as a necessary strategy for a more subdued image on par with the masculine, serious, and formal professional dress, namely the ubiquitous suit and tie. This new ‘career’ woman became visible by her appearance and choice of dress codes that reinforced her position as a businesswoman who was seriously committed to her work. But (...) from the perspective of the first decades of the new millennium, power dressing and power and fashion have far wider meanings and ramifications. For Michel Foucault, power is a regulatory principle that is used to control social interactions and to impose structures that inform the ways in which we act and appear. In line with Foucault’s analysis, to dress is already to respond to tacit frameworks of power, and because it involves already accepted codes of visualisation and behaviour, to “power dress” is not simply to wield or enact power voluntarily but to succumb to it as well. Further, as this paper will reveal, power dressing can also be understood according to Foucault’s “technologies of self”, which sees the historical subject as both subject and object of a network of discursive forces that are considered normative as opposed to constructed. Power dressing still exists today but according to a more nuanced and multivalent configuration. It can also be thought of as a particular form of renunciation that facilitates an embodiment of power much as religious asceticism and privation is (purportedly) constitutive of a more authentic self. (shrink)

Fashion are implemented with regard to social context through a variety of studies, including the examination of fashion style. The period between 2010 and 2019 was selected as the guiding time frame. The objective of this study is to present an implementation process of a fashion style in Indonesia, both in synchronic and diachronic perspectives. This qualitative research with a historical approach employs a variety of data source including literature data from journals, books, fashion magazines, interviews (...) with fashion experts, and focus group discussions. The study proposes four dominant styles of trend fashion in Indonesia between 2010 to 2019, namely: modest, an emerged particular theme in Indonesia; athleisure, a reflection view of health and well-being; informality, the roles of millennial as leadership changes; and traditional, that represented the traditional culture of Indonesia. The finding of this study can be summarized as follows: The acceptance process of the four dominant styles can be attributed to the reflection ideas among fashion consumers in Indonesia. Additionally, the shift and the acceptance of fashion styles from 2010 to 2019 was mainly influenced by the affirmation process between role models and followers. Furthermore, the pattern of fashion in Indonesia shows different indications compared to global fashion trends, because of the cultural aspects as distinctive characteristics of fashion styles based on traditional values and meanings. (shrink)

Fashion is at once a familiar yet mysteriously elite world that we all experience, whether we’re buying a new pair of jeans, reading _Vogue_, or watching the latest episode of _Project Runway_. Lars Svendsen dives into that world in _Fashion_, exploring the myths, ideas, and history that make up haute couture, the must-have trends over the centuries, and the very concept of fashion itself. _Fashion _opens with an exploration of all the possible meanings encompassed by the word “ (...) class='Hi'>fashion,” as Svendsen probes its elusive place in art, politics, and history. Ultimately, however, he focuses on the most common use of the term: clothing. With his trademark dry wit, he deftly dismantles many of the axioms of the industry and its supporters. For example, he points out that some of the latest fashions shown on runways aren’t actually “fashionable” in any sense of the word, arguing that they’re more akin to modern art works, and he argues against the increasingly prevalent idea that plastic surgery and body modification are part of a new wave of consumerism. Svendsen draws upon the writings of thinkers from Adam Smith to Roland Barthes to analyze fashion as both a historical phenomenon and a philosophy of aesthetics. He also traces the connections between the concepts of fashion and modernity and ultimately considers the importance of evolving fashions to such fields as art, politics, and philosophy. Whether critiquing a relentless media culture that promotes perfect bodies or parsing the never-ending debate over the merits of conformity versus individual style, Lars Svendsen offers an engaging and intriguing analysis of fashion and the motivations behind its constant pursuit of the new. (shrink)

Medieval European culture was obsessed with clothing. In _Fashioning Change: The Trope of Clothing in High-and Late-Medieval England,_ Andrea Denny-Brown explores the central impact of clothing in medieval ideas about impermanence and the ethical stakes of human transience. Studies of dress frequently contend with a prevailing cultural belief that bodily adornment speaks to interests that are frivolous, superficial, and cursory. Taking up the vexed topic of clothing’s inherent changeability, Denny-Brown uncovers an important new genealogy of clothing as a representational device, (...) one imbued with a surprising philosophical pedigree and a long history of analytical weightiness. Considering writers as diverse as Boethius, Alain de Lille, William Durand, Chaucer, and Lydgate, among others, Denny-Brown tracks the development of a literary and cultural trope that begins in the sixth century and finds its highest expression in the vernacular poetry of fifteenth-century England. Among the topics covered are Boethian discourses on the care of the self, the changing garments of Lady Fortune, novelty in ecclesiastical fashions, the sartorial legacy of Chaucer’s Griselda, and the emergence of the English gallant. These literary treatments of vestimentary variation—which develop an aesthetics of change itself—enhance our understanding of clothing as a phenomenological and philosophical category in medieval Europe and illustrate the centrality of the Middle Ages to theories of aesthetics, of materiality, and of cultural change. (shrink)

Eugene 'Gene' Vernier worked as a fashion photographer for British Vogue from 1954 to 1967, during one of the most exciting periods in fashion history. Shooting of-the-moment looks from the likes of Christian Dior and Emilio Pucci and top models including Celia Hammond, Jean Shrimpton, and current Vogue creative director Grace Coddington, Vernier worked with some of the biggest names in the industry. Yet he was relatively unconcerned with celebrity. Interested only in bringing out the very best in (...) each frame, Vernier was a true craftsman in the fashion photography trade. Featuring more than one hundred of Vernier's own favorite photographs drawn from Vogue's extensive photo archive, this lavishly illustrated volume reveals remarkable innovation in the use of props, backdrops, and location. Whether he was photographing his subjects by the sea, with a canine companion, or perfectly positioned atop a pale pink convertible, Vernier's careful composition enhanced the essence of his subject. Vernier shot mostly in black-and-white, and his trademark “look” is one of classic femininity. He sought to capture models when they were relaxed, enjoying the clothing, and confident that their photographer would show both only at their best. Providing commentary on the photographs are fashion history expert Becky Conekin and Vogue historian Robin Muir. This is first book to focus on Vernier's work at Vogue and it allows readers a rare glimpse of his inimitable blend of technical excellence and an eye for experimentation. (shrink)

The unbridled consumption of clothing threatens the environment. In fashion communities, a discussion is developing around the adoption of new materials and economic models to reduce the impacts of clothing production and use. We discuss these emergent technologies in the wider historical setting of the Anthropocene, a geologic term that denotes the global-scale environmental changes brought about by agricultural and industrial activity. The long history of human-environmental interactions is interwoven with the development of international garment economies that have shaped (...) biological and physical systems. This article provides an account of how changes in clothing manufacturing and consumption patterns have... (shrink)

Although an elusive concept, "camp" can be found in most forms of artistic expression, revealing itself through an aesthetic of deliberate stylization. Fashion is one of the most overt and enduring conduits of the camp aesthetic. As a site for the playful dynamics between high art and popular culture, fashion both embraces and expresses such camp modes of enactment as irony, humor, parody, pastiche, artifice, theatricality, and exaggeration. Drawing from Susan Sontag's seminal essay "Notes on 'camp,'" the book (...) explores how fashion designers have used their metier as a vehicle to engage with the camp aesthetic in compelling, humorous, and sometimes incongruous ways. As a sartorial manifestation of the camp sensibility, this thought-provoking publication contributes new theoretical and conceptual insights into the camp canon through texts and images. Stunning new photography by Johnny Dufort highlights works by such fashion designers as Virgil Abloh, Thom Browne, Jean-Charles de Castelbajac, John Galliano, Jean Paul Gaultier, Marc Jacobs, Karl Lagerfeld, Alessandro Michele, Franco Moschino, Miuccia Prada, Richard Quinn, Yves Saint Laurent, Elsa Schiaparelli, Jeremy Scott, Anna Sui, Gianni Versace, and Vivienne Westwood. (shrink)

How do markets come about? This article offers a first systematic analysis of three different ideal types of market fashioning: mutual adjustment, organization, and fields. Although aspects of these are identifiable in most empirical markets, these three ideal types provide analytic tools for students of real markets and marketplaces. After going through this comprehensive literature, it is argued that mutual adjustment, which refers to non-planned processes, is affinity with markets in which products are differentiated, for example, producer markets. Organization refers (...) to process driven by attempts to decide for others and shows affinity with markets for standardized and homogenous products, for example, stock exchanges. Organization also accounts for the making of marketplaces. The broader notion of fields does not refer to any specific process, but accounts for the context of market fashioning and its respective power struggles. (shrink)

In recent years, the animation industry has achieved unprecedented development trends, and many excellent animation works have emerged in China, which are popular with audiences. Among all kinds of animation works, the most important feature is the integration of traditional Chinese philosophical and cultural elements, which leads to the difference between Chinese animation works and other countries. It not only conforms to the aesthetic standards of Chinese people, but also gives play to the traditional Chinese culture, providing a direction for (...) further promoting the inheritance and development of outstanding traditions. With the rise of mobile intelligent terminals, the vigorous development of the Internet era, and the rising demand of people for the existing market, traditional philosophy and culture, as a new business opportunity, has great development prospects in this era. The fashion transformation of traditional philosophy and culture in the animation art is about to attract more attention from capital and entrepreneurs. In animation art design, the most important core concept is artistic creativity. Due to China's lack of originality in animation design for a long time, this paper attempts to revive China's animation art design by applying traditional innovative ideas in the fashion transformation of animation art design schemes. This new artistic expression method is aimed at better expressing the theme of animation activities, maximizing the value of animation works and promoting the development of animation industry. Through the transformation and innovation of traditional philosophy and culture and animation art customization, this paper explores the transformation and innovation of traditional philosophy and culture and animation art customization in order to provide some reference for the development of animation industry. (shrink)

This chapter contains sections titled: What Is It To Be Fashionable? Appearing Fashionable Two Concepts of Fashion Fashion and Alienation The Metaphysics of Fashion.

This chapter contains sections titled: Being Fashionable Tryhards and Fashion Victims Effortless Cool Self‐effacing Goals.

The article analyses fashion as a reflex of philosophy of identity in everyday life. Contemporary fashion is not imaginable without postulation of national and/or regional identity. Worldly recognisable French, Italian and other regional fashions show a variety of models that have recognisability. Internationally recognisable as fashion that represents particular national identity it still can be seen as not the only possible its identity version. Contemporary variety in identity models in fashion design are reflecting identity models in (...) general. Identity is understood as changeable and liquid that can reflect aspects of identity depending on participants of interaction. Fashion, differently, is a form of mass communication that does not change the message depending on the receiver. (shrink)

This chapter contains sections titled: Philosophers' Denigration of Fashion Taste and Style Genius Love of Beauty as A Moral (Or Proto‐moral) Motive Conclusion.

Lars Svendsen draws upon the writings of thinkers from Adam Smith to Roland Barthes to analyze fashion as both a historical phenomenon and a philosophy of aesthetics.

This study looks at the differences and changes observed in the visual design of the covers of French editions of women’s fashion magazines over a period of twenty-one years. To this end, the study aims to identify the changes that can be observed over the years in the design of the covers of the magazines Vogue, Elle, Marie Claire, and Cosmopolitan. However, the main aim of the study is to analyze how these visual signs on the covers of French (...) magazines are designed “differently” and how these signs create a “difference” in comparison to each other. By analyzing these visual elements, the aim of the study is to show the development of design trends and their impact on the visual communication strategies and brand identities of magazines. (shrink)

This paper looks at the place of items long associated with the bodies of South Asian women in mainstream fashion. First, there will be a profiling of some of the scenes where bindhies, mendhies and related scents and sounds are donned and adored by white bodies. By participating in conversations with South Asian women in Britain in the second part of the article, the author is able to discuss some of the stirrings raised by the recent legitimization of these (...) items by multicultural capitalism, leading towards an exploration of a different sense of aesthetics, memory and desire. The ambivalent attraction of limited recognition offered by the anthropological urge to ‘know’ the ethnic ‘other’ is noted. A consideration of the rage induced by the power of whiteness to play with ‘ethnic’ items which had not so long ago been reviled when they were worn by South Asian women points to the historical amnesia that underlies much multicultural celebration. The allure of images packaged as oriental for South Asian women themselves, although often from a different set of sensibilities and memories, stresses the importance of historical reconstruction. (shrink)

By probing into how desire is involved in fashion phenomena, this article illuminates Willkür in tandem with desire. It first analyzes how the higher and lower faculties of desire, spelled out by Immanuel Kant, play a role in fashion, unveiling how fashion as a form of social relations exists in concert with the higher faculty of desire, which has a close connection with Willkür. This article maintains that the arbitrary choice manifested in and through fashion is (...) illustrative of Willkür, on the grounds that it results from a self-conscious deliberation, demonstrating the ‘reflective distance’ from our incentives. Christine M. Korsgaard’s elucidation of the relationship between ‘reflective distance’ and self-consciousness helps formulate this argument. However, this article also discusses the foibles of Korsgaard’s reading of Kant, in particular in the area of theory of action. By doing so, this article argues that reason is not the only factor with which we make choices and take actions within the bounds of which freedom is secured, and that fashion allows us to comprehend not only how the power of choice, independent from necessitation by sensible impulses, exercises its freedom, but also how personal autonomy is related to Kant’s negative concept of freedom. (shrink)

The contributions in this volume make an important effort to resurrect a rather old fashioned form of foundationalism. They defend the position that there are some beliefs that are justified, and are not themselves justified by any further beliefs. This epistemic foundationalism has been the subject of rigorous attack by a wide range of theorists in recent years, leading to the impression that foundationalism is a thing of the past. DePaul argues that it is precisely the volume and virulence of (...) the assaults which points directly to the strength and coherence of the position. (shrink)

Despite the spectacular contributions to knowledge made by molecular biology during the last half century, cancer research has not delivered an agreed explanation of how malignant tumours originate. The models assiduously investigated in molecular terms largely reflect waves of fashion, and time has revealed their inadequacy: cancer is (1) not caused by the direct action of oncogenes, (2) not fully explained by the impairment of tumour suppressor genes, (3) not set in motion by mutations controlling the cell cycle, (4) (...) not governed by the dependence of malignant tumours on an adequate blood supply and (5) not triggered by a failure of programmed cell death. But there is now strong evidence that cancers may have their origin in mutations that block the execution of critical steps in the process of normal differentiation. Cancer, thus seen, is not initially a disease of cell multiplication, but a disease of differentiation. The evidence for this point of view should now be explored. BioEssays 27:833–838, 2005. © 2005 Wiley Periodicals, Inc. (shrink)

In the famous account of his two-year experiment of a simple life away from the distractions of society, Walden, or Life in the Woods, Henry David Thoreau wrote that "a man who has at length found something to do will not need to get a new suit to do it in; for him the old will do, that has lain dusty in the garret for an indeterminate period."1 Since its first publication in 1854, Walden has had as many critics as (...) adherents, and until now, Thoreau's attempt at a life of self-sufficiency in harmony with nature has divided views. Despite this, the above quote embodies a dilemma that is as salient in the current crisis of our unsustainable model of fashion consumption as it was in the nineteenth century, when the... (shrink)

SUMMARYThe sixteenth-century Huguenot émigré Jacques Bellot played a seminal role in the history of English and French language tuition, and is remembered for composing some of the first descriptive grammars for learners of both languages. His methods remained in use throughout the seventeenth century after being incorporated into the often-reprinted Grammaire angloise. This essay considers a previously undiscussed manuscript copy of Bellot's Rules containing the Perfect Understanding of the French Tongue for evidence of his early attempts to teach French to (...) members of Sir Thomas Wroth's family. The Rules provides new insights into how Bellot and his printers adapted the content and parallel-text layout in his subsequent printed manuals to create more efficient aids to language learning. (shrink)

This paper examines self-fashioning in Aleksandar Hemon’s “Everything,” a story about a Sarajevo teenager’s journey through ex-Yugoslavia to the Slovenian town of Murska Sobota. His aim? “[T]o buy a freezer chest for my family” (39). While in transit, the first-person narrator imagines himself a rogue of sorts; the fictional journey he takes, meanwhile, is clearly within the quest tradition. The paper argues that “Everything” is an unruly text because by the end of the story the reader must jettison the conventional (...) reading traditions the quest narrative evokes. What begins as a comic tale about a minor journey opens out, in the story’s final lines, into a story about larger historical concerns, namely, the Yugoslav wars of the 1990s. By introducing contemporary history, Hemon points beyond the closed world of his short story, while rejecting the quest pattern he has established. (shrink)

This article presents fashion as a mechanism of domination and political legitimacy, focusing on Soviet-type state socialist regimes. In particular, it documents some dynamics shaping the politics of fashion in the socio-political context of 1960s Cuba arguing that the consolidation of a radically new political order in the country was based, in part, on the production of denotative logistics that associated clothes with political values. The article concludes that denotative logistics are activated as mechanisms of impersonal rule in (...) periods of political transition or regime change, such as after the triumph of the Cuban Revolution. In those moments, they articulate processes of social engineering oriented toward producing a new society and a new man. (shrink)

Everyday life is a central theme of Hong Kong poetry. Many Hong Kong poets use the quotidian as a starting point for the exploration of history and alternative imaginings. This mundane focus, unlike the colonial dreamscape of Hong Kong as an economic miracle, allows writers to reflect upon Hong Kong as a post-colonial and global space. The Hong Kong writer Natalia Chan examines the complex nature of everyday life within the space of the global and post-colonial city. Chan’s poems deal (...) with the essence of everydayness and use commodities to conjure up the vivacity of the urbanscape of Hong Kong. Unlike the political and economic discourse that is usually used to define Hong Kong, Chan’s work portrays Hong Kong as a city that offers the possibility of daily re-creation against the background of history. In this article, we will examine Chan’s use of the circulation of commodities in the global world and explore the way fashion becomes a point where high and popular culture, private and public domains, and local and global interests clash, negotiate, and fertilize each other. Chan’s works do not conform to the economic and prosperity discourse that has repressed Hong Kong; rather, she guides her readers to re-experience the everydayness of routines, to celebrate alternate ways of understanding the urbanscape, and to open themselves to the potentialities of art and the everyday. (shrink)

Fashion has a varied and explosive history. Our responsibility as educators preparing students and therefore careers for this context places us in a very difficult and complex position. Do we prepa...

The contributions in this volume make an important effort to resurrect a rather old fashioned form of foundationalism. They defend the position that there are some beliefs that are justified, and are not themselves justified by any further beliefs. This epistemic foundationalism has been the subject of rigorous attack by a wide range of theorists in recent years, leading to the impression that foundationalism is a thing of the past. DePaul argues that it is precisely the volume and virulence of (...) the assaults which points directly to the strength and coherence of the position. (shrink)

This article explores some of the key dynamics of the UK fashion sector as an example of a post-industrial, urban based, cultural economy comprising of a largely youthful female workforce. It argues that the small scale, independent activities which formed the backbone of the success of British fashion design as an internationally recognized phenomenon from the mid 1980s to the mid 1990s, represented a form of female self-generated work giving rise to collaborative possibilities and co-operation. However without an (...) effective lobby or association (despite the expansion of the fashion media) and under conditions of rapid individualization and in an increasingly harsh climate of neo-liberalization, this creative economy has been overtaken and virtually demolished by the joint forces of a re-vitalized high street fashion culture and the aggressive presence of corporate fashion (‘Prada-ization’). While the UK government celebrates the growth of the cultural economy, it also overlooks the processes making the livelihoods of its predominantly female workforce either untenable or else requiring de-specialization and ‘multi-tasking’. (shrink)