Just Use What You Have: Ethical Fashion Discourse and the Feminisation of Responsibility

ABSTRACT

The rise of fast fashion has meant that young women (even those on relatively low incomes) are able to ‘regularly consume and discard fashionable clothing’ [Buckley, Cheryl, and Hazel Clark. 2012. “Conceptualizing Fashion in Everyday Lives.” Design Issues 28 (4): 18–28. doi:10.1162/DESI_a_00172., 21]. While this development may be aligned with the democratisation of fashion—the fact that the supply chains that deliver fast fashion are not consistent with the principles of global democracy is now also relatively common knowledge in the democratised West. This, along with growing awareness of the ecological harms associated with the fashion industry has contributed to what Elke Gaugele [2014. Aesthetic Politics in Fashion. Vienna: Sternberg Press] has termed the ‘ethical turn’ in fashion. However, despite the fact that young women are often not deemed capable of translating their (ethical) attitudes into (ethical) behaviours [McNeill, Lisa, and Rebecca Moore. 2015. “Sustainable Fashion Consumption and the Fast Fashion Conundrum: Fashionable Consumers and Attitudes to Sustainability in Clothing Choice.” International Journal of Consumer Studies 39 (3): 212–222], nor able to be ‘trusted to consistently make good decisions’ [Brooks, Andrew. 2015. Clothing Poverty: The Hidden World of Fast Fashion and Second-Hand Clothes. London: Zed Books, 241], they are also increasingly being called to recognise their individual role in the politics of global fashion supply chains. Drawing on examples from scholarly and popular discourses as well as online peer to peer communications, this article explores the historical moment of fast fashion as an instance of both the feminisation of consumption and the feminisation of responsibility.     

‘I Want to Wear It’: Fashioning Black Feminism in Mahogany (1975)

ABSTRACT

In this article I focus on the portrayal of fashionable clothing in the 1975 film Mahogany and connect it to the history of African American women engaging with sartorial self-representation as a means to assert their visibility in American culture. My aim is to analyse Mahogany’s emphasis on brightly-coloured highly-ornamented clothing, which has a long history of signifying bad taste and became part of accusations of racial and sexual inferiority. I want to show how Mahogany’s representation of fashion undermines the historically entrenched bias against colourful, highly adorned clothing while also revealing how this bias has played a subtle but significant role in the racism and sexism black women have encountered, further (but not finally) impeding them from the forms of recognition the category of femininity offers. Mahogany represents those impediments and repeats the sexual and racial commodification underlying them, but also resists them (albeit quite subtly) through the film’s loving display of fashion and its attention to the work of designing and making clothes. Mahogany tells a story of bright sartorial resistance that can be understood as an articulation of black feminist desires for women of colour to be able to compose the images through which their bodies are perceived.     

‘Brightening their leisure hours’? The experiment of BBC Women's Hour, 1923–1925

ABSTRACT

On 2 May 1923, the newly established BBC, launched Women's Hour, a daily bespoke programme aimed at its female audience produced by Ella Fitzgerald, a former Fleet Street journalist. In December 1923 a Women's Advisory Committee (WAC) was established to represent women's interests at the BBC with eminent members who included the Chairman of the National Federation of Women's’ Institutes, Lady Denman; the actress Dorothea Baird and the physician Elizabeth Sloan Chesser. The WAC, working with Fitzgerald and other BBC officials, introduced into Women's Hour an innovative range of programme ideas. It also prompted a debate about the premise of the programme, whether it should be about domesticity or provide escapism from the ‘common task’ of housework. In addition the WAC challenged the Women's Hour name. Through a consideration of the programme and the WAC, both of which were short-lived, this article explores how the BBC sought to address its female audience in the early 1920s.     

Forms of Difference in Sorcières

Abstract

Art practice and organizing occupied a significant but precarious place in the groups and networks that made up the Mouvement de libération des femmes (MLF) in France during the 1970s. This was reflected in the relatively small amount of space allocated to analyzing the relationships between visual production and feminist politics in the art press and activist publications alike. There was, however, one significant exception to this general rule: the journal Sorcières (1975–1982) which, although a predominantly literary initiative, regularly featured original contributions by contemporary women artists working in the context of the MLF, as well as reviews of exhibitions and statements by practitioners. Sorcières was particularly invested in exploring notions of women’s difference and alternative expression, notably through écriture féminine. Yet the publication did not adopt an exclusively essentialist position, or focus on embodiment to the outright dismissal of materialist concerns. This openness is especially apparent in the journal’s engagement with visual art, resulting partly from the key contribution made by members of the Collectif Femmes/Art. Visual production, this article contends, thus played a key role in the exploration of various forms of difference across the pages of Sorcières.     

Cindy Sherman in a New Millennium: Fashion,Feminism, Art and Ageing

ABSTRACT

If feminism and the fashion industry were once seen as adversaries, given how the strictures of Simone de Beauvoir in The Second Sex (1949) permeated so much of second wave feminism, a consideration of ‘fashion’ is now central to contemporary feminist scholarship. But just as the earlier critique of fashion seemed finally to have been supplanted, certain basic arguments around dress and makeup nevertheless resurfaced within contemporary feminism. The current neoliberal climate has led to the ever-increasing consumption of ‘fashionable’ goods, provoking unease and encouraging the contested ‘protectionist discourse’ within feminism to shield young women from just such excesses. Meanwhile, the fashion world itself, arguably more powerful than ever, has across the last twenty years continued a process of legitimising itself through its various modes of alliance with the art world; it has even hijacked elements of feminist practice in the pursuit of publicity. This article suggests that the fashion industry and contemporary feminism are nonetheless alike in one significant respect: neither have properly engaged with the needs of an ageing population. It is an omission that this article will seek to examine through a discussion of the recent ‘portraits‘ of Cindy Sherman, an artist of great interest to feminist scholars, in whose earlier work there was a discernible ‘anti-fashion’ element. Now ‘fashionable’ herself, a leading figure in the global art world, she has collaborated with the fashion industry in rather different ways. Her ‘portraits’ of 2012, in which she reconfigured herself as imaginary Manhattan socialites in or beyond middle age, and a later series, exhibited in 2016, where she appears as a series of ageing, anonymous ‘movie stars’, reveal more general ideological tensions surrounding the representation of women, the ageing process and the fashionable ideal. It is the dissection of these tensions that underpin this article, for while Sherman’s work has been the subject of academic debate across a forty year period, her use and critique of the ‘fashionable ‘ image has not been examined alongside an exploration of the expanding activities of the fashion industry itself; nor have her recent images of ageing women been examined within this more general context.     

Wanting Pictures After Feminism: Re-reading On Our Backs

Abstract

This article explores the relationship between photography and feminism that emerges through the pages of the lesbian sex magazine On Our Backs (1984–2006). The San Francisco-based magazine represents an exceptional archive of images made in the context of lesbian community. Returning to the photographs that were published in early issues of the magazine, the article argues that On Our Backs, whilst explicitly addressed to a paucity of available images of lesbian culture, reflects a complex engagement with the meaning of the photographic image in dialogue with contemporaneous feminist debates. Through the work of Tee Corinne, Morgan Gwenwald and Honey Lee Cottrell, a desire for pictures renders the image a site of fantasy in which different ways of inhabiting lesbian identity form in dialogue with a community of readers.     

Mainstream Sexualization and the Potential for Nordic New Feminism

Processes of sexualization mark a wide range of popular and high‐cultural representations in media and culture. This trend has led to academic and public feminist debate. In this article I argue that the common polarization between the repressive and the subversive potential of sexualized representations fails to understand processes of sexualization as forms of mainstream cultural experimentation. Since the mid‐90s we have witnessed the emergence of a new feminist cultural wave in the Nordic countries, embracing post‐feminist modes and popular culture that re‐politicizes feminist questions in controversial ways. I argue that this development and the Nordic context of state feminism and gender equality ideals pose a challenge to analyses of sexualization as exclusively part of commercial colonization, anti‐feminist backlash and de‐politicization. I will present a case that exemplifies the discussion of sexualization by the critical reception of the Norwegian young feminist anthology with the title Rosa Prosa. Om jenter og kåthet [Pink Prose. On girls and horniness] (2006). The ideological and aesthetic hybridity of the texts poses a problem for the critics who denounce the book's feminist potentials.     

‘The Rape Joke’: censorship,affective activisms,and feeling subjects

Abstract

This paper follows the affective impact of a story on rape culture in a school magazine in a US high school. Immediately following its publication, the school administrative enacted a policy of prior review on all future publications. The event made waves in US national news and online media and was denounced as an act of censorship and infringement on students’ freedom of expression. In concert with other students and faculty at the school, the author of the piece engaged in various forms of protest and on- and off-line activism. This piece tracks the multiple political affects and effects activated by the article through a notion of affectivisms. This case study further explores notions of ‘positive’ school climate and the increasingly imbricated textures of schooling experiences with online media.     

Gender in the Social Sciences

Abstract

This paper considers the three main ways in which social scientists are concerned with gender—as a field of study, as an analytical tool and as a social phenomenon structuring the social sciences themselves. It begins with a reconsideration of a report I wrote for the Academy of Social Sciences in Australia in 1998 on gender in the social sciences, and moves on to consider what has changed since then, emphasising the substantial internationalisation of Australian scholarship in thinking, method, focus, collaboration and communication. With the growing alliance of gender studies with cultural studies and the transformation of the latter from an interdisciplinary project into a new discipline, I suggest, feminist scholarship has become much more disciplinary in focus. For this reason, it has become important to understand why it is that women have found it much harder to achieve parity with men in some disciplines than others, and why it is that within disciplines, there remain strong gender differences. It concludes by observing that the vitality of gender scholarship depends significantly on its continuing engagement with public concerns and issues.     

`Subjects' of Regulation/Resistance? Postmodern Feminism and Agency in Abortion-Decision-Making

This article explores the epistemological and strategic issues facing feminists embarking upon narrative explorations into women's experiences. It considers the implications for feminist epistemology of acknowledging women's participation in dominant ideologies about their social role. Focusing upon questions of women's agency, it asks how this `conforming knowledge' might complicate postmodernist feminist notions of resisting and reconstructing law's categorisation of `Woman'. It also represents an attempt to clarify, in advance of my own analysis of women's agency in abortion decision-making, why postmodern feminists might talk to women – the `subjects' of law's constructive power. It seeks additionally to open a discussion among a wider audience of feminists about what we might do with the information uncovered through listening to women's own stories in an area pronounced upon authoritatively by a multitude of discourses. This revised version was published online in July 2006 with corrections to the Cover Date.     

Performing Post-feminist Wealth: The Intersectional Aesthetics of Irene Major’s Instagram Profile

ABSTRACT

How is wealth communicated visually and how might a post-feminist sensibility intersect with wealth? This article examines the Instagram profile of Irene Major, a self-styled social celebrity and an apparently super-rich woman living in England. Born in Cameroon, Major migrated to the U.K. where she worked as a fashion model before marrying Sam Malin, a Canadian oil tycoon. Major’s online profile presents us with a fascinating figure who celebrates extreme wealth via a spectrum of social media communications. This performance of wealth is relevant to broader debates about the links between race, gender, class and wealth not only in the U.K., but also to those regarding these links in a globalised and mediated world. The article traces three key narrative themes in the @irenemajor Instagram profile with particular reference to critical thought on the intersection of race, gender and class in the self-representation of super-wealth. It concludes by considering how a post-feminist sensibility intersects with the visual mediation of wealth.     

Domestic labour,masculinity and social change: insights from working-class young men’s transitions to adulthood

Abstract

Drawing on a seven-year longitudinal qualitative study in England, this paper presents evidence of how engagement with housework and childcare is regular and normalized for contemporary working-class young adult men. I explain this development with reference to inclusive masculinity theory, but supplement this by incorporating Mannheim’s concept of social generation, as recently adopted by scholars of youth sociology. The paper thus further augments other research that has documented considerable change in the construction and performance of contemporary masculinities – such as an opening up of gendered behaviours and a decrease (but not erasure) of homophobia – among young men across multiple contexts in English-speaking countries.     

The Gothic,the Death Drive and Angela Carter

Abstract

This essay situates Angela Carter's The Bloody Chamber and Other Stories (1979) in a 1970s era in which a feminist reclaiming of various things—the streets, the night, as well as fairy tales—is the order of the day. It examines the complex nature of Carter's status, in this context, as a controversial writer. Is Carter a writer who contests or colludes with the forms of reality presented in and by her fiction? This question may be seen as framing the main debate about Carter as a ‘problematic’ or ‘polarizing’ figure. The different sides of this argument are assessed in this essay. From reading ‘The Bloody Chamber’ as an exemplary reworking of the Gothic, and itself one of Carter's fictions of the death drive, the essay reaches a clear conclusion of its own regarding the vexed contest/collude dimension of Carter's storytelling.     

Industrial relations strategy and construction in the UK oil industry: the case of the national agreement

Abstract

This paper is a case study chronicling and analyzing the strategic considerations given to industrial relations in a proposal to upgrade and renew a major production unit in a UK oil refinery. The study is based on interviews and substantial internal documents provided by the case study managers. This represents a unique illustration as to the extent a company goes through in considering the way in which a major capital project needs to consider industrial relations issues before being considered acceptable to the Corporate-level audience and its decision-makers. In particular, the context is interesting – that of an American multinational taking up a national agreement from a process of sector-wide multi-employer bargaining.     

Looking Good: The Lesbian Gaze and Fashion Imagery

This paper is concerned with the different forms of pleasure and identification activated in the consumption of dominant and subcultural print media. It centres on an analysis of the lesbian visual pleasures generated through the reading of fashion editorial in the new lesbian and gay lifestyle magazines. This consideration of the lesbian gaze is contrasted to the lesbian visual pleasures obtained from an against the grain reading of mainstream women's fashion magazines. The development of the lesbian and gay lifestyle magazines, in the context of the pink pound, produces a situation in which an eroticized lesbian visual pleasure is the overt remit of the magazine, rather than a clandestine pleasure obtained through a transgressive reading of dominant cultural imagery. In contrast to the polysemic free-play of fashion fantasy by which readers produce lesbian pleasure in the consumption of mainstream magazines, responses to the fashion content in the lesbian magazine Diva suggest that in a subcultural context readers deploy a realist mode of reading that demands a monosemic positive images iconography. The article uses the concept of subcultural competency to consider the different ways lesbians read mainstream and subcultural print media and suggests that the conflict over Diva's fashion spreads may be linked to changing patterns of identification and the use of dress for recognizability.     

Elspeth Huxley: gender,empire and narratives of nation, 1935-64

Abstract

This article explores the impact of empire on narratives of the British nation during a period of decline of British colonial rule through a study of Elspeth Huxley's successive reworkings of such narratives between 1935 and 1964. It sets Huxley's work in the context of post-1945 anxieties about national decline and their connections with the loss of imperial power, and looks at the difficulties surrounding the articulation of national identity as virile and masculine in post-imperial Britain. Although anxieties about masculinities were often addressed through a misogynistic discourse which showed women emasculating men, Huxley's work suggests the significance of a counter-theme. It indicates not only her own attachment to an imperial identity but also the ways in which this continued to be articulated in the midtwentieth century as an identity with a wide appeal to a metropolitan audience, and one through which women could be incorporated into the story of nation. In exploring the terms of this incorporation, the article considers the opportunities open to women to claim to embody exemplary national qualities through the figure of the doughty, intrepid, imperial female pioneer, and the particular resonance and appeal this figure acquired in the context of the end of empire.     

Shocking Thoughts: A Reply to Anne Bottomley

This is a response to an article published in an earlier issue of this journal (Bottomley, A., Feminist Legal Studies 12/1 (2004), 29–65) in which an article by this author was cited as a prime example of a dangerous emerging 'orthodoxy' in feminist legal theory and subjected to a sustained and critical analysis. The purpose of this response is to reflect briefly on the rhetorical style and the theoretical orientation of that article, and to consider their worrying implications for the practice of feminist legal theory as a whole. This revised version was published online in July 2006 with corrections to the Cover Date.     

A Cross-National Study Examining the Role of Executive Function and Emotion Regulation in the Relationship between Children’s Television Exposure and Consumer Behavior

Across industrialized nations, children and teens are a highly prized target for the advertising industry because young people have a tremendous influence on family purchases; however, media scholars have long suggested that young people are a fundamentally vulnerable audience because they lack the necessary developmental competencies to adequately process and protect themselves from advertising communications. Yet, the precise developmental mechanisms have not been clearly articulated nor is there a clear understanding of how these competencies extend across childhood contexts (e.g., developmental phase, cultures). The current study seeks to lend clarity to this matter by looking at the potential influence that children’s executive function and emotion regulation have on the relationship between television exposure (as a proxy of exposure to advertising messages and other consumption-oriented media content) and consumer behavior across a broad range of ages from two wealthy industrialized countries. Mothers of young elementary school children (5–8 years) and early adolescents (9–12 years) in the Netherlands (N?=?333, 51.7% female child) and the United States of America (N?=?810, 49.6% female child) took part in an online survey to report on their child’s cognitive/affective development, media use, and consumer behavior (i.e., purchase requests, purchase related conflict). The results showed that across ages, executive function via attentional shifting moderated the link between purchase requests and purchase conflict, whereas positively valenced emotion regulation moderated the same relationship but only for older children. Lastly, the findings revealed that while there are differences in reported behavior among children in these two countries, the developmental processes tend to work in the same manner. The discussion focuses on what these findings mean for children’s consumer development as they approach adolescence and how researchers and child advocates should take these developmental factors into account when considering children’s potential vulnerability as consumers.

     

Gender Equality and Reproductive Decision-Making

In Evans, both the U.K. High Court and Court of Appeal upheld Howard Johnstons right to refuse Natallie Evans access to the stored embryos which represented her only hope of having a child which was genetically her own. In this note, I focus on claims of gender (in)equality in the resolution of Evans. My argument is that such claims are often made all too easily, without full consideration of the problems of advancing them in the context of procreative decision-making, where men and women are inevitably differently situated. I conclude that although equality arguments are not wholly without value in this context, they need be used with extreme care. And, with due caution, I set out an equality argument of my own which was not made in Evans.     

Performative Rhetorics in Invisibility: Phoebe Philo's Undone Authorship

ABSTRACT

This inquiry analyses the rhetoric of intentionally unfinished fashion contained in the collections from Céline as designed by Phoebe Philo and explicates the implications of this approach to fashion as a feminist text. Shoshana Felman’s seductive promise of speech, modified with insights from Paul de Man’s theory of autobiography as both giving face and defacement, is applied to Philo’s ‘new minimalism’ in order to highlight its appeal to modern female audiences. Using insights from the philosophy of Jacques Derrida, I examine ways in which wearers may seek to create a signature citationality via clothing that produces its own ‘unwriting’ therefore allowing the wearer to believe she inscribes her own iteration while maintaining control. Wearers are offered the chance to identify with a designer who is enlightened beyond fast and flashy fashion while hinting at the notion of the clothing having the substantialising effect that language has (instead of representational). Through this examination, clothing is shown to be a decision, and clothing is also shown to be a fiction. These decisions and fictions are open to failure; yet Felman offers that this failure acts as an opening remaining inadvertent or unacknowledged. Philo's designs invite an exploration of clothing as performative rhetoric.