The article presents an account of the visual relations created by garments through their plastic formants, examining the role played by form, material, and composition in creating body hierarchies that produce prescribed behaviors between different subjects. The work dissects the concept of thematic role from Greimasian theory, investigating the manners in which an eighteenth-century wedding dress presents the chaining of programs governing materials, garments, and the body in the production of narrative interactions between subjects. The work utilizes a combination (...) of Greimas’ method with the Visual Semiotics continued by Floch and Oliveira, as well as Hammad’s Semiotics of Space which permit the exam of optical relations created in the body through its clothing – relations that can be read as manifesting values that are both historically and socially determined, or in the act of apprehension of an object. The eighteenth century provides a type of “original” case, whose results are pertinent to a broader study of the relations between body and dress: the work concludes with the understanding that Fashion changes through the transit of values and roles invested in the body and dress – a set of changes closely linked to the construction of social roles. (shrink)

This article examines the reasons early Confucians offer to support the belief that clothing is formative of its wearer’s character, as well as the arguments other early Chinese texts raise to object to it. It focuses on early Confucian discourses about three representative items of clothing, including the cap used in the coming-of-age ceremony, the accessories made by jade, and a style of clothing named shenyi 深衣. These cases demonstrate that, in early Confucian thought, clothing is (...) said to be able to shape the wearer’s character by registering in the wearer its moral symbolism with both psychological-cognitive and bodily means. While this emphasis on symbolism also invites objections that undermine the normative status early Confucians want to ascribe to a specific style of clothing, their discourses still enrich the current understanding of Confucian self-cultivation, in terms of both its method and goals. (shrink)

For readers of Women in Clothes, a philosophical guide to fashion. We all get dressed. But how often do we pause to think about the place of our clothes in our world? What unconscious thoughts do we express when we dress every day? Can a philosophy of living be wrapped up in a winter coat? Can we see clothes not as objects, but as ideas? Dressed is the thinking person's book about clothes, exploring these questions by ranging freely from (...) suits to suitcases, from Marx's coat to Madame X's gown. Through literature and art, film and philosophy, philosopher Shahidha Bari unveils the surprising and subconscious ways what we wear communicates with us, about us, and for us. Dressed is about the hidden power of clothes in our culture and our daily lives, addressing the deepest questions of who we are, how we frame ourselves, and how we choose to face the world. (shrink)

Clothing is central to the worlds described in early modern utopian texts: of twenty-three utopian texts written and published in England between 1516 and 1656, 91 percent mention dress, and 82 percent contain more extensive description or comment upon clothing. Written by elite authors for elite readers, these texts assign clothing a leading role in the establishment and maintenance of social order in a range of areas, including governance, social and religious control, personal expression, and ideological (...) stance. Separated from the material constraints of the physical world, dress in these worlds has meaning rather than substance; we see how the authors think about dress and fashion—not how... (shrink)

This article addresses the cultural commodification of the dress sign of the sacred body from contexts of `God' to its recontextualization within contexts of consumer capitalism or `Mammon'. The concept of religious dress `commodification' is employed heuristically to help make sociological sense of the seepage of dress sacra from religious contexts of origin to secular contexts of use. While other readings of the late modern career of the religious dress `text' are indeed possible, the suggestion here (...) is that it can be seen to float freely between the religious and secular domains and thus belongs to both as signage adding `religious' value to the material body for whatever purposes ñ commercial, erotic, ludic among others. (shrink)

Body image research focuses almost exclusively on women or overweight and obesity or both. Yet, body image concerns among thin men are common and can result, at least in part, from mixed messages in society around how men qua men should dress and behave in order to look good and feel good. Stand-alone interventions to meet these different messages tend to provide men with little therapeutic relief. This conceptual paper draws on literature from the medical humanities; gender and body (...) image studies; the social psychology of clothing; and the author’s own lived experience to address this contemporary problem. The paper embraces visual culture as a resource that can frame discussion of how two sets of ‘performativity’ might reduce male anxiety about thinness. First, thin men could choose repeatedly to wear masculine-looking clothing, which could create their masculinity as a personal aesthetic that strengthens the confidence to harness masculine traits in healthy ways. Secondly, health and allied health service providers could promote and reinforce such dress behavior by offering advice that integrates aesthetic and functional aspects of clothing. Empirical studies are needed to test this dual model of performativity. (shrink)

Numerous studies have found that many people believe that a provocatively dressed woman is at greater risk for sexual assault and bears some responsibility for her assault if she is attacked. Furthermore, in legal, academic, and public debates about sexual assault the appropriateness of the term ‘provocative’ as a descriptor of certain kinds of women’s clothing is rarely questioned. Thus, there is a widespread but largely unquestioned belief that it is appropriate to describe revealing or suggestive women’s clothing (...) as ‘provocative’ and that women who wear such clothing could provoke sexual assault and harassment from men. Yet it is rarely noted that only women’s clothing is described as sexually provocative. Men’s clothing, no matter how revealing, is never described as provocative. Why is this the case? This Article challenges the assumption that it is appropriate to describe women’s clothing as provocative. Drawing on on models of the legal defense of provocation and research on objectification and responsibility, this Article demonstrates that continued use of ‘provocative’ term normalizes and entrenches deeply problematic attitudes about women’s responsibility for men’s sexual behavior. The social interpretation of women’s clothing as provocative arises from the privileged social and legal status of men’s sexual arousal and the objectification of women’s bodies. Describing women’s clothing as provocative thus reinforces a problematic conception of women’s bodies and sexuality that is connected to women’s experiences of their bodies, their clothes, and shapes their vulnerability to sexual assault and social and legal attitudes to such attacks. (shrink)

I will argue here that for many of us the act of dressing our bodies is evidence of intentional expression before different audiences. It is important to appreciate that intentionality enables us to understand how and why we act the way we do. The novel contribution this paper makes to this examination is employing clothing as a means of revealing the characteristics of intentionality. In that, it is rare to identify one exemplar that successfully captures the relationships between the (...) cognitive and physical characteristics of its application. Nevertheless, this paper will not attempt to fully encompass the traditional approaches associated with this concept but instead employ both the early and later writings of French phenomenologist Maurice Merleau‑Ponty and his claim that our lived bodies are an expressive space from which we act intentionally. In other words, that the manner by which we dress our bodies is likely to offer a significant means of revealing the character of intentionality in everyday life and by this, claim that clothing can communicate. Accordingly, this first‑person account closely examines both the cognitive and physical experience of a simple clothing example: ‘what to wear?’ and the experience of an everyday clothing purchase in a store and its subsequent impact when the item of clothing is worn for different audiences. The ensuing discussion systematically examines the significance of marrying Merleau‑Ponty’s writings with this everyday example through private and public audiences and in abstract and public spaces. (shrink)

Focusing on clothing and adornment (dress), this worldwide cross-cultural comparison asks why people in some societies appear to dress in uniform or standardized ways, whereas in other societies individuals display considerable variability in dress. The broader research question is why some societies have more within-group variation than others. Hypotheses are tested on 80 societies drawn from the Standard Cross-Cultural Sample (SCCS). The central hypotheses consider the impact of general societal tightness or looseness, degree of egalitarianism as (...) well as other aspects of societal complexity, and the role of resource stress on dress standardization. Exploratory methods identify four latent constructs of dress from newly coded variables, one latent construct for tightness/looseness, and one latent construct for resource stress. As expected, (1) increased societal tightness was positively related to increased standardization and rules regarding dress and (2) increased resource stress is generally related to more standardization of dress and rules regarding adornment. However, contrary to theoretical expectations, the predictors of tightness–looseness differ from the predictors of dress. Most importantly, resource stress negatively predicts tightness but positively predicts three of the latent dress constructs. The relationship between dress standardization and societal complexity may be curvilinear, with mid-range societies having more standardization. Although some of the theorized relationships are supported (including that standardization of dress is predicted by societal tightness and more resource stress), at the end of paper we discuss some puzzling findings, speculate about possible explanations, and suggest further lines of research. (shrink)

Studies of early modern dress frequently focus on its connection with status and identity, overlooking clothing’s primary function, namely to protect the body and promote good health. The daily processes of dressing and undressing carried numerous considerations: for example, were vital areas of the body sufficiently covered, in the correct fabrics and colours, in order to maintain an ideal body temperature? The health benefits of clothing were countered by the many dangers it carried, such as toxic dyes, (...) garments that were either too tight or voluminous, or harboured dirt and diseases that could infect the body. This article draws on medical treatises and health manuals printed and read in Italy and England, as well as personal correspondence and diaries, contextualised with visual evidence of the styles described. It builds on the current, wider interest in preventative medicine, humoral theory, health and the body in the early modern period by focusing in depth on the role of clothing within these debates. (shrink)

There is, to all appearances, a philosophic hostility to fashionable dress. Studying this contempt, this paper examines likely sources in philosophy's suspicion of change; anxiety about surfaces and the inessential; failures in the face of death; and the philosophic disdain for, denial of, the human body and human passivity. If there are feminist concerns about fashion, they should be radically different from those of traditional philosophy. Whatever our ineluctable worries about desire and death, whatever our appropriate anger and impatience (...) with the merely superficial, whatever our genuine need to mark off the serious from the trivial, feminism may be a corrective therapy for philosophy's bad humor and self-deception, as these manifest themselves when the subject turns to beautiful clothes. (shrink)

The author examines the symbolism of the Indian politician's common dress: white coarse khadi cham pioned by Gandhi. Does its continued survival during the post-independence era signify merely hypocrisy, empty ritual? What does it implicitly communicate about the public and private intents ofpoliticalfigures? What values does the khadi conceal in its texture? Do they serve any purpose? Chakrabarty's analysis concludes by admitting that though khadi no longer conveys any message as to the prevalence of Gandhian convictions, yet it constitutes (...) a deep-seated resistance by Indian democracy and politics to the wholesale loss of their identity in the rising surge of global capitalism. (shrink)

This book takes a new approach to the question, "Is the philosopher to be seen as universal human being or as eccentric?". Through a reading of the Theaetetus,Pappas first considers how we identify philosophers - how do they appear, in particular how do they dress? The book moves to modern philosophical treatments of fashion, and of "anti-fashion". He argues that aspects of the fashion/anti-fashion debate apply to antiquity, indeed that nudity at the gymnasia was an anti-fashion. Thus anti-fashion provides (...) a way of viewing ancient philosophy's orientation toward a social world in which, for all its true existence elsewhere, philosophy also has to live. (shrink)

Feminists have always been concerned with how the clothes women wear can reinforce and reproduce gender hierarchy. However, they have strongly disagreed about what to do in response: some have suggested that the key to feminist liberation is to stop caring about how one dresses; others have replied that the solution is to give women increased choices. In this paper, we argue that neither of these dominant approaches is satisfactory and that, ultimately, they have led to an impasse that pervades (...) the contemporary feminist debate. The problem is that both sides of the debate understand women’s complicity in patriarchal subordination as a matter of what women wear and do. Instead, we propose a phenomenological analysis that understands complicity as based in our relations to our clothes. Starting from this phenomenological perspective, we sketch a new relational feminist ethics of dressing. This alternative ethical paradigm cannot yield a simple recipe for how to dress or tell us what garments are off-limits. But it can offer a way to make critical feminist judgements about clothes without veering into a stifling new prescriptivism. (shrink)

This paper examines the phenomenon of individual Athenians adopting elements of Persian clothing, making use of exotic items such as gold and silver drinking vessels, and the like, by comparison to what I argue is a similar sort of contact and exchange involving the European fabric trade and evolving standards of dress and fashion in the Early Modern Atlantic. The ancient literary and archaeological sources discussed document the reaction of a relatively insignificant, marginal people to the dress (...) practices of a more powerful and arguably far more sophisticated imperial power. I suggest that an appreciation of the character and intentions of the much better documented encounter between the English court and Amerindian ambassadors who visited it in the early 18th century provides a potentially useful corrective to the indigenous perspective of our Athenian sources. (shrink)

I am an American born faith-based Kuchipudi Hindu dancer and educator with Indian ancestry regardless of what I wear. For the purposes of this article, I focus my attention on a dress narrative to explore an authentic self. Here, clothing is an artifact that creates an image that provokes a phenomenological experience. Dress choices become appropriate or inappropriate, religious or anti-religious depending upon the social constructions of culture. Also, there is a feminist issue that provokes a social (...) construction of “delicate” regardless of what I wear. The feminist dilemma incites my main question for this discourse. How can I maintain my authentic self as a faith-based Hindu dancer and educator regardless of my wardrobe? What is the appropriate attire in a particular setting? Does clothing provoke a certain phenomenological experience that requires consideration? What kind of narrative do I write with my wardrobe choice? Through a self-study that maintains a postcolonial theoretical framework, I propose a postcolonial theory of Cultural Becoming to develop a more authentic sense of self, based on my own lived experience of what it means to be me as a postcolonial educator who is simultaneously Eastern and Western. (shrink)

Before someone opens her mouth to speak, her clothes are available for interpretation. This means that the way a person dresses provides the first information that we are presented with about her. This paper discusses the many ways in which people create and exchange meanings in communication through dress. In this case, dress serves both instrumental and communication functions. In addition to protecting the body from the elements, it also conveys socially relevant information via cultural categories, cultural processes, (...) and individual meaning. All of these are discussed using the Nigerian setting as a case study. (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)

In lieu of an abstract, here is a brief excerpt of the content:Hercules Cross-dressed, Hercules Undressed: Unmasking the Construction of the Propertian amator In Elegy 4.9Sara H. LindheimVain trifles as they seem, clothes have, as they say, more important offices than merely to keep us warm. They change our view of the world and the world’s view of us.—Virginia Woolf, OrlandoPropertius begins 4.9 with his version of the story of Hercules and Cacus that he adapts from Virgil’s recently published Aeneid. (...) 1 Once he has recovered his stolen cattle, slain the monstrous, thieving Cacus and founded the Forum Boarium, the Propertian Hercules feels an overwhelming thirst. He hears the laughter of women and follows the sound to a grove in which the worship of the Bona Dea is taking place. Arriving on the threshold of the sanctuary, he pleads for some water from the spring he hears inside the grove, citing his heroic deeds as credentials for admittance. When his request achieves no immediate results, however, he considers that perhaps the women hesitate to open their sanctuary to a strong hero. He then offers a second self-presentation, this time telling how he once dressed as a woman and served Omphale, queen of Lydia. When the high priestess denies him entrance, reminding him that men, by religious prescription, cannot look upon the rites, Hercules gains access to the grove violently, drinks the spring dry, and announces that the Ara Maxima which he establishes 2 will forever exclude women from worship.The poem purports to offer a myth of origins for the Ara Maxima. Indeed, in the opening elegy to his fourth and final poetic collection, the poet proclaims his desire to dispense with love and to concentrate [End Page 43] instead on aetiology. Subscribing to Callimachean poetics, he will now compose aetiological verse on Roman subjects. Yet a second voice threatens the unity of the poet’s declaration, suggesting a second and incompatible thematic focus. Even as Propertius proclaims his bold, new stance, Horos the astrologer interrupts, insisting on the poet’s inability to leave behind themes of erotic elegy. 3 The programmatic elegy never resolves the tensions between the two poles of the bipartite agenda, promising that warring interests will haunt the elegies in the fourth book.It comes as no surprise, therefore, that antithetical arguments surface in poem 4.9. I argue that the tension animating the poem emerges from its two competing discourses about gender identity. An exploration of the three stories about the hero in the poem—the opening account offered by the poet, as well as the two self-defining, yet contradictory, narratives that Hercules weaves, in which he presents himself first as a great masculine force and then as the cross-dressed servant of Omphale—suggests the ephemeral nature of “real” gender identity. Considering briefly a modern theoretical model of cross-dressing, I examine Propertius’ own manipulation of transvestism to categorize gender, on the one hand, as a fluid construction, a social performance. On the other hand—and here lies the poem’s tension—a second, antithetical argument also emerges from the poem, which insists on the possibility of assigning persons to a specific gender category based on firm, stable criteria. When the priestess reads Hercules as man, and when the hero ultimately differentiates himself from woman by establishing male-only worship at the Ara Maxima, gender becomes essential or biological. The question I want to pose is: why do these discourses stand side by side, and what kind of synthesis between them ultimately materializes? Finally, I suggest that this debate about gender reaches beyond poem 4.9. By constructing Hercules so that the hero comes to represent, on an exaggerated scale, the Propertian amator, who himself vacillates between “masculine” and “feminine” identities, Propertius invites the reader to see a similar tension in the poet’s first three books of elegies. Thus, towards the end of his poetic career, the poet issues a reconsideration [End Page 44] of the portrait of the lover/poet in light of the questions elegy 4.9 raises about gender identity.While some might consider that to seek out, within ancient texts, whether gender appears essential or constructed in nature reveals an... (shrink)

To explore utopian fashion using a case study of those who have cast off clothes might seem like a deliberately perverse enterprise. The practice of nudism may first appear to be an immaterial culture, a dress study without an object. And yet, as John Berger has so pithily put it in Ways of Seeing, "Nudity is a form of dress."1 Being naked is never without cultural signification, deeply rooted in social and material specificities. In Seeing Through Clothes, (...) class='Hi'>dress historian Anne Hollander has emphasized that "the state of undress" has "a constant share" in "the profound and complicated motives governing all types of dress." She asserts, "The more significant clothing is, the more meaning attaches to its absence, and... (shrink)

A multitude of reasons are given for banning various forms of symbolic clothing. The only thing that is clear is that there has not been a definitive way to proceed. The lack of clarity and ambiguity over what children should be allowed to wear in schools is apparent. Consequently, policies regarding symbolic clothing are inconsistent and erratic, at best. This article explores the reasons used for the banning of symbolic clothing in schools and recommends four principles that (...) may assist educators and policy analysts in developing more consistent guidelines. It is hoped that the principles put forward will underpin future policy discussions in defining the acceptable parameters of symbolic clothing. (shrink)

In everyday life, the way people dress is thought to furnish the attentive observer with information about them. In ethnomethodological terms, we would say that clothing is a source of “social information,” allowing subjects to form an idea of the “social and personal identity” of other people. For the sake of convenience, albeit simplifying somewhat, we may distinguish three aspects of this phenomenon: the dress observed, the interpretative process, and the results of the interpretation. This article is (...) concerned with the process of interpretation itself. What I am trying to aim at is this: how to represent this process in a metalanguage, by means of a kind of artificial mechanism capable of simulating it adequately. And I shall be arguing that semiotics can provide a worthwhile conceptual framework for such a metalanguage. (shrink)

Dans le cadre des luttes pour l’indépendance en Inde (1890-1940) et du renouvellement des normes de la mode féminine en Europe, des Anglaises telles Annie Besant, Margaret Noble, Madeleine Slade quittent à leur arrivée en Inde leurs robes traditionnelles pour des habits qui réélaborent des éléments empruntés à la culture indienne. Les pratiques vestimentaires témoignent, particulièrement dans le contexte anticolonial, d’un enjeu crucial tant pour les autorités britanniques que pour les Indiens. Tandis qu’Indiens et Indiennes modifient leurs habits en réponse (...) aux pressions des codes vestimentaires coloniaux, ces « saris européanisés » affirment publiquement à la fois leur sentiment politique anti-impérialiste et un programme national et social pour les Indiens sous-tendu par une forte dimension féminine. Ils fonctionnent comme un lieu de négociation des relations coloniales par la contestation ouverte des notions impérialistes de domesticité et l’introduction de nouvelles formes de sociabilités politiques. (shrink)

Modern Western society has framed fashion in opposition to hegemonic masculinity. However, fashion functions as a principal means by which men’s visible gender identities are established as not only different from women but also from other men. This article draws on the concept of hybrid masculinities and on wardrobe interviews with Canadian men across social identities to explore how men enact masculinities through dress. I illustrate three ways men do hybrid masculinities by selecting, styling, and wearing clothing in (...) their everyday lives. The differences between these three hybrid masculine configurations of practice are based on the extent to which men’s personal and professional social identities were associated with hegemonic masculine ideals as well as the extent to which those ideals shaped the settings in which they were situated. Although participants had different constellations of gender privilege, they all used dress to reinforce hegemonic masculinity, gain social advantages, and subsequently preserve the gender order. Failing to do so could put them personally and professionally at risk. My research nuances the hybrid masculinities framework by demonstrating how its enactment is shaped by the intersection between men’s social identities and social contexts. (shrink)

ABSTRACT Despite the claim in Miroslav Imbrišević’s paper about differences between the positions of Jon Pike and myself, there are also significant overlaps. I endorsed the WR consultative process that Jon was part of, agreed that Jon had produced a compelling argument, and agreed with the lexical framework of the argument. Miroslav’s major contentions with my argument appears to be that it dresses up patriarchal outcomes in feminist clothes, and that it ignores the voices of women [athletes] in coming to (...) its conclusions. In this paper, I address the charges by suggesting that both emanate from Miroslav’s attempts to see gender critical feminism as the gauge against which all positions need to be judged. My position is that this school of feminism will lead to largely conservative outcomes in the discursive and organizational hierarchies in sport, so that any individual benefits that accrue to female athletes will be less substantial than the loss of transformational potential in women’s sport. (shrink)

Group-identification and cognition: Why trivial conventions are more important than we think In existing (evolutionary) explanations for group formation and -identification, the function of cultural conventions such as social etiquette and dress codes is limited to providing group-markers. Group formation and identification itself is explained in terms of less arbitrary and more substantial phenomena such as shared norms and institutions. In this paper I will argue that, however trivial and arbitrary, cultural conventions fulfil an important cognitive function that makes (...) them essential to the formation of and identification with large groups. Complex role-division, both informal and institutional, is important in the functioning of any large group of people. Shared conventions enable a virtually automatic understanding of signals, scripts and rules that regulate the interaction of divided roles. They provide a cultural infrastructure within which we perceive e.g. specific behavior and clothing as a range of social-cultural affordances for role-interactions. Shared familiarity with this infrastructure is the foundation for the basic kind of trust of in-group strangers that is a requirement for the formation of large groups. This non-intellectualist view on group formation and group identification can contribute to new ways of dealing with problems in multicultural societies. (shrink)

This collection of essays is unlike others in the field of African studies, for it is based on three very precisely delineated focal points: a particular geographical region, the sub-Sahara; specific modes of cultural production, literature and cinema; and a focus on works of French expression. This three-fold approach to exploring the relationships between power and culture in a non-Western environment greatly contributes to making this book unique from a variety of perspectives: African, Francophone and postcolonial studies, as well as (...) cross-disciplinary, cultural, transnational and diasporic studies. Moreover, the book offers deft and innovative analyses that move beyond the rhetoric of crises on the African continent we so very often hear of, so as to present a critical reflection on the subject at hand that is specific to the sub-Sahara and at the same time intimately linked to global culture, economy and politics. The authors' three-fold approach also presupposes that disciplinary compartmentalization increases power conflicts in academia. If only in part, compartmentalization is the result of antagonistic and competitive relations between specialization and multidisciplinary education. This book is thus a modest attempt at presenting an alternative to excessively fixed and homogeneous academic frontiers while considering that disciplinary expertise remains a must. Keeping in mind that an increasing number of scholars in Anglophone Postcolonial studies and Francophone African studies have been attempting for quite some time now to open interstices and build crossroads that can better connect them to each other, keeping in mind that these scholars work at revealing mechanisms by which any antagonistic discourses can mix, influence, act upon or react to one another, this book seeks to take a constructive step in establishing enduring grounds for multidisciplinary, cross-disciplinary and transnational academic research and collaboration. (shrink)