Imagined possibilities and bodily feelings embedded in personal fashion archives

Robinson, T

Imagined possibilities and bodily feelings embedded in personal fashion archives

Robinson, T

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Publisher:: Intellect
Publication Type:: Journal Article
Citation:: Critical Studies in Men's Fashion, 2023, 10, (2), pp. 161-178
Issue Date:: 2023-12-01

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Field	Value	Language
dc.contributor.author	Robinson, T https://orcid.org/0000-0002-0209-4771
dc.date.accessioned	2024-05-06T04:01:39Z
dc.date.available	2024-05-06T04:01:39Z
dc.date.issued	2023-12-01
dc.identifier.citation	Critical Studies in Men's Fashion, 2023, 10, (2), pp. 161-178
dc.identifier.issn	2050-070X
dc.identifier.issn	2050-0718
dc.identifier.uri	http://hdl.handle.net/10453/178673
dc.description.abstract	This article examines the significance of the body and its sensory and embodied aspects associated with a historical milieu and set of practices associated with ‘rave’ subculture and its relationship to fashion creativity. It focuses on a personal fashion archive that documents menswear designed in the late 1990s and early 2000s. Using an autoethnographic approach, the study investigates how the design of the garments in the archive was shaped by ways of experiencing and understanding the body that integrated the embodied experiences of moving and dancing with electronic music, the embodied experience of dressing, and the embodied experiences of designing men’s fashion in the years that followed. While rave and electronic dance music cultures received considerable scholarly attention in the mid-to late 1990s, less attention was devoted to men’s fashion and the interaction between fashion design, embodied experience and the rave sensoria. Moreover, while this study lays at the intersection rave and electronic dance music culture, fashion and design, all of which are understood to have European and North American origins, the article considers the way those practices took a unique shape within an Australian context. The contribution aims to provide insight into fashion as part of situated and embodied practices, that take place in local milieus, and the way fashion creativity can be understood not as surface ‘ripples’ moving out from global fashion centres or trickle-down versions of ‘authentic’ fashion developed elsewhere, but as fashion creativity, shaped by global forces, energies, and technologies, and embodied and enacted via local manifestations.
dc.language	en
dc.publisher	Intellect
dc.relation.ispartof	Critical Studies in Men's Fashion
dc.relation.isbasedon	10.1386/csmf_00074_1
dc.rights	info:eu-repo/semantics/closedAccess
dc.subject	1203 Design Practice and Management, 1905 Visual Arts and Crafts, 2002 Cultural Studies
dc.subject.classification	3303 Design
dc.subject.classification	4405 Gender studies
dc.title	Imagined possibilities and bodily feelings embedded in personal fashion archives
dc.type	Journal Article
utslib.citation.volume	10
utslib.for	1203 Design Practice and Management
utslib.for	1905 Visual Arts and Crafts
utslib.for	2002 Cultural Studies
pubs.organisational-group	University of Technology Sydney
pubs.organisational-group	University of Technology Sydney/Faculty of Design, Architecture and Building
pubs.organisational-group	University of Technology Sydney/Faculty of Design, Architecture and Building/School of Design
utslib.copyright.status	closed_access	*
dc.date.updated	2024-05-06T04:01:36Z
pubs.issue	2
pubs.publication-status	Published
pubs.volume	10
utslib.citation.issue	2

Abstract:

This article examines the significance of the body and its sensory and embodied aspects associated with a historical milieu and set of practices associated with ‘rave’ subculture and its relationship to fashion creativity. It focuses on a personal fashion archive that documents menswear designed in the late 1990s and early 2000s. Using an autoethnographic approach, the study investigates how the design of the garments in the archive was shaped by ways of experiencing and understanding the body that integrated the embodied experiences of moving and dancing with electronic music, the embodied experience of dressing, and the embodied experiences of designing men’s fashion in the years that followed. While rave and electronic dance music cultures received considerable scholarly attention in the mid-to late 1990s, less attention was devoted to men’s fashion and the interaction between fashion design, embodied experience and the rave sensoria. Moreover, while this study lays at the intersection rave and electronic dance music culture, fashion and design, all of which are understood to have European and North American origins, the article considers the way those practices took a unique shape within an Australian context. The contribution aims to provide insight into fashion as part of situated and embodied practices, that take place in local milieus, and the way fashion creativity can be understood not as surface ‘ripples’ moving out from global fashion centres or trickle-down versions of ‘authentic’ fashion developed elsewhere, but as fashion creativity, shaped by global forces, energies, and technologies, and embodied and enacted via local manifestations.

Please use this identifier to cite or link to this item:

http://hdl.handle.net/10453/178673