Unpacking how masculinity is embodied in images from HIV prevention material targeting a gay male audience, this essay explores how, through their streaming and modulation with the viewer’s body, such images become affective, thereby potentially informing our ideas of and identifications with the HIV/AIDS epidemic.
As one of the culture industry’s principal soothsayers, Edelkoort certainly looks the part: with her cropped, grey-streaked hair, red lips, and signature 80s minimalist attire, she exudes a kind of “arty” knowingness in her daily uniform that her clients have come to conflate with her trend forecasting ability.
In spite of all of the technological and mechanical developments in digital pattern cutting, weaving, and printing, the manufacturing of clothes is still an industry much dependent on the hands of the makers. For them, the shortening of seasons is a hard task to follow.
Fashion as a word is perhaps a bit like the word LOVE. Both words are thrown about in conversation as if they mean the same thing to everyone. Our practices, however, seemed to sit at the periphery of what is generally assumed by the word.
Whether the paper doll is a girl or boy, celebrity or historical figure, these “stylish” pieces are advertisements for the latest fashion trends. Beyond play, they are objects that have taught children, throughout time, how to dress for life.
Notes From the Field is a recurring column written from behind the scenes by fashion and fashion studies professionals across all disciplines. We highlight process, showing readers how it looks and feels to be blazing trails and rethinking the way we make and do, as we do it.
Reflective practice requires the critical reframing of a designer’s work, while technical practice can be trained with repetition. We observed that students were eager to learn meaningful theoretical content in tandem with advancing their hands-on skills.
CONSUME(s) ME was born out of a conversation following a clothing swap I co-hosted with a friend. We were satisfied and congratulating ourselves for throwing a good party. My friend called me the ‘queen of clothing swaps’ and the statement stuck with me.
Zandra Rhodes began her professional career in the 1960s, designing textiles for Heal’s (famous 200-year-old furnishing store in London). However, her proudest achievement to date is designing for opera—something very few fashion designers accomplish. Why is that? What is so appealing about designing for opera? What is challenging about it?
Realizing the diversity of women's body types, I wanted to research a different type of women to design for. I fell in love with the women's swim team at Columbia University, I interviewed them, followed them around with a camera, and I soon realized how beautiful it was to look at from a fashion perspective. With the Columbia swim team, I came to envision a way to do something different.