Skip to content
1981
Volume 6, Issue 2
  • ISSN: 2050-0742
  • E-ISSN: 2050-0750

Abstract

This article argues for the consideration of the lecture-performance as a genre that offers rich possibilities for critical fashion discourse, one that is uniquely suited to the material, embodied nature of clothing.The article recounts a lecture-performance by Australian-based design group The Stitchery Collective, which explored moments in history that demonstrate fashion’s capacity to resist, rebel and turn the political into the fabulous. From Amelia Bloomer’s bloomers to the sans-culottes of revolutionary France, fashion has acted as a tool and medium for great social protest and momentum for change. In contemporary fashion, local designers in Australia embed counter-fashion ideology into their business practices to offer a counteraction to the more negative effects of capital-F Fashion. The lecture-performance aimed to reframe personal consumption choices in the now, via the political fashion of the past, as politically motivated and most of all, capable of contributing to real change. The Stitchery proposed that in fashion, the personal is political and the political is personal, both throughout history and in the present day. The creative work combined public lecture, historical dress up, contemporary fashion showcase and call to action in an engaging lecture-performance format.

Loading

Article metrics loading...

/content/journals/10.1386/cc_00016_1
2019-06-01
2024-07-19
Loading full text...

Full text loading...

References

  1. Bancroft, Alison. ( 2013;), ‘ How fashion is queer. ’, The Qouch , 14 March, https://www.theqouch.wordpress.com/2013/03/14/how-fashion-is-queer/. Accessed 28 August 2019.
  2. Bugg, Jessica. ( 2011;), ‘ The clothed body in fashion and performance. ’, Journal of Museum of Applied Art, 7, December, pp. 6474.
    [Google Scholar]
  3. Butler, Judith. ( 2006), Gender Trouble: Feminism and the Subversion of Identity, New York:: Routledge;.
    [Google Scholar]
  4. Fashionclash ( 2017;), ‘ Fashion talks at FASHIONCLASH festival 2017. ’, Fashionclash , 11 July, http://www.fashionclash-festival.blogspot.com/2017/07/fashion-talks-at-fashionclash-festival.html. Accessed 28 August 2019.
  5. Frank, Rike. ( 2013;), ‘ When form starts talking: On lecture-performances. ’, Afterall: A Journal of Art, Context and Enquiry, 33, June, pp. 415.
    [Google Scholar]
  6. Mas, Catherine. ( 2017;), ‘ She wears the pants: The reform dress as technology in nineteenth-century America. ’, Technology and Culture, 58:1, pp. 3566.
    [Google Scholar]
  7. McCormick, Sheila. ( 2017), Applied Theatre: Creative Ageing, London and New York:: Bloomsbury Methuen Drama;.
    [Google Scholar]
  8. Milder, Patrici. ( 2011;), ‘ Teaching as art: The contemporary lecture-performance. ’, PAJ: A Journal of Performance and Art, 33:1, pp. 1327.
    [Google Scholar]
  9. Murray-Leslie, Alexandra. ( 2014;), ‘ Fashion acoustics: Synthesizing wearable electronics and digital musical instruments for performance. ’, Critical Studies in Fashion & Beauty, 5:1, pp. 14161.
    [Google Scholar]
  10. Pessoa de Lima, Manuel. ( 2019;), ‘ Institutional critique and the lecture performance. ’, Unlikely: Journal for Creative Arts, 3, n.pag.
    [Google Scholar]
  11. The Rational Dress Society ( 2016;), ‘ A history of counter fashion. ’, YouTube, https://youtu.be/xFs-2cP1csE. Accessed 21 September 2019.
    [Google Scholar]
  12. Rocamora, Agnès, and Smelik, Anneke. (eds) ( 2016), Thinking through Fashion, London and New York:: I.B. Tauris;.
    [Google Scholar]
  13. Rossi, Andrew. ( 2018), 7 Days Out: Chanel, Paris:: Netflix;.
    [Google Scholar]
  14. Skov, Lise,, Skjold, Else,, Moeran, Brian,, Larsen, Frederik, and Csaba, Fabian F.. ( 2009;), ‘ The fashion show as an art form. ’, Creativity at Work, Creative Encounters Working Papers Series, Copenhagen:: Copenhagen Business School;, pp. 237.
    [Google Scholar]
  15. Tcheng, Frédéric. ( 2014), Dior and I, Paris:: CIM Productions;.
    [Google Scholar]
  16. Torres, Lara. ( 2017;), ‘ Fashion in the expanded field: Strategies for critical fashion practices. ’, Journal of Asia-Pacific Pop Culture, 2:2, pp. 16783.
    [Google Scholar]
  17. Zheng, Jenny. ( 2019;), ‘ Zero waste Daniel addresses the zombie apocalypse happening now. ’, Paper Magazine, https://www.papermag.com/zero-waste-daniel-2640345826.html. Accessed 24 September 2019.
    [Google Scholar]
  18. Zweiniger-Bargielowska, Ina. ( 2015;), ‘ “Healthier and better clothes for men”: Men’s dress reform in interwar Britain. ’, in E. D. Rappaport,, S. Dawson, and M. Crowley. (eds), Consuming Behaviours: Identity, Politics and Pleasure in Twentieth-Century Britain, London:: Bloomsbury Publishing;.
    [Google Scholar]
  19. Taylor, Madeline,, Bulley, Kiara, and Hickey, Anna. ( 2019;), ‘ Manifesto of dress: Political intersections in fashion lecture-performances. ’, Clothing Cultures, 6:2, pp. 265280, doi: https://doi.org/10.1386/cc_00016_1
    [Google Scholar]
/content/journals/10.1386/cc_00016_1
Loading
/content/journals/10.1386/cc_00016_1
Loading

Data & Media loading...

This is a required field
Please enter a valid email address
Approval was a success
Invalid data
An error occurred
Approval was partially successful, following selected items could not be processed due to error