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CREDITS AND REFERENCES
SYSTEMS: CRITIQUE
INSTITUTIONALIZED MEMORY Image courtesy of Asato Kitamura
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CEREBRAL CORTEX: A NOSTALGIC JOURNEY OF MEMORY WITH MY MOTHER Images courtesy of Asato Kitamura
LA MODA LATINOAMERICANA: FROM CASTA PAINTINGS TO COLONIAL STEREOTYPES Image 1: Courtesy of Mailye Matos Lopez Images 2-4: Meisel, Steven, Linda Evangelista, Vogue Italia, February 1989.
[1] Chris Kortright, “Colonization and Identity,” accessed February 14, 2021, https://theanarchistlibrary.org/library/chris-kortright-colonization-andidentity. [2] “La Raza En Los Cuadros De Castas De La Nueva España,” ADN Cultura, May 31, 2020, https://adncultura.org/la-raza-en-los-cuadros-de-castasde-la-nueva-espana. [3] “Castizo, Za,” in Diccionario De La Lengua Española, 23.ª Ed (Real Academia Española, 2020), https://dle.rae.es/castizo. [4] Regina Root and Mariselle Meléndez,“The Latin American Fashion Reader,” in The Latin American Fashion Reader (Oxford, UK: Berg Publishers, 2005), pp. 17-30.
THE POWER OF THE ARCHIVE: (RE)TELLING HISTORICAL NARRATIVES [1] Alexander Fury, “In Fashion, the Beauty (and Challenge) of Looking Back.” New York Times, 2017. [2] Joanne Entwistle, The Fashioned Body: Fashion, Dress and Social Theory. (Oxford: Polity Press), 2015. 31. [3] Richard Hobbs, “Repository Spotlight: Pendleton Woolen Mills Archives,” Society of American Archivists, 2017. [4] Ibid. [5] Jonathan Michael Square, “Opinion: A Stain on an All-American Brand: How Brooks Brothers Once Clothed Slaves,” Vestoj. [6] Alexandra Walsham, “The Social History of the Archive,” 2016, pg. 10.
[7] Michel-Rolph Trouillot. Silencing the Past. 2015, pg. 21. [8] A recent article documented the whiteness of museum collections. Even in the Palais Galliera in Paris, which Vanessa Friedman points out is “one of the largest and most extraordinary collections of fashion in the world,” out of 200,000 objects, only “77 pieces of clothing were created by Black designers.” (Vanessa Friedman, “The Incredible Whiteness of the Museum Fashion Collection,” New York Times. 2020.) [9] Maura Reilly. Curatorial Activism. 2018, pg. 21. [10] Reilly, pg. 21. [11] Walsham, pg. 9.
UTOPIA THROUGH DYSTOPIA: THE FASHIONABLE USURPATION OF POLITICS BY DIOR AND CHANEL Images 1-3: Chanel via Getty. Image 4: Dior via Huffington Post.
[1] Djurdja Bartlett, “Fashion and Politics,” Yale University Press, 2019. [2] Ibid.
FASHION IS A PRIVILEGE Images courtesy of Usury Sacramento
SDK Images courtesy of Sasha de Koninck
SYSTEMS: RESISTANCE
RACED BODIES + AN ‘OTHERED’ EXPERIENCE
Image: Winters, Isaiah. Local Black Tailors and Stylists, SHARP & SHARP II SERIES, Baltimore.
FASHION OUTLIERS: AFROPUNK AND THE EMBODIMENT OF RESISTANCE Images: Williams, Diahann. Afropunk Brooklyn, 2018. August 25-26, 2018. Brooklyn, New York. Williams, Diahann. Afropunk Brooklyn, 2017. August 26-27, 2017. Brooklyn, New York.
[1] Emma Tarlo. Visibly Muslim: Fashion, Politics, Faith. London: Bloomsbury, 2014. [2] Ibid. [3] Tate, “Of Afropunks and Other Anarchic Signifiers of Contrary Negritude,” in Bourgeois to Boojie: Black Middle-Class Performances, edited by Vershawn Ashanti Young and Bridget Harris Tsemo. Detroit, MI: Wayne State University Press, 2011. ProQuest Ebook Central. [4] James Spooner, dir., Afro-Punk, 2003, California. [5] Sana Saeed, The Very Black History Of Punk Music, produced by Al Jazeera Media Network. http://www.ajplus.net/english/. 2018 [6] Ibid. [7] Ibid. [8] Janice Miller, Fashion and Music. London: Bloomsbury Publishing PLC, 2011. ProQuest Ebook Central.
SHARP & SHARP II SERIES Images: Winters, Isaiah. Local Black Tailors and Stylists. SHARP & SHARP II SERIES, Baltimore. Courtesy of Isaiah Winters
FASHION DESIGNERS WHO REALLY RESPECT WOMEN AND DISRUPT THE SYSTEM Images: Courtesy of Lorena Pèrez
MARCH 8 Images: Muse, Maureen. March 8, c- print , 8x10 in., 2021. Courtesy of Maureen Muse
GENDER + PERFORMATIVITY
Image: Thaysa Paulo. A noiva [The Bride], Courtesy of Debauxe. Model: Lady Thusa.
BOYS WEAR BLUE, GIRLS WEAR PINK: MOLOTOV-FASHION & CULTURAL RESISTANCE IN BRAZILIAN CONTEMPORARY SOCIETY Image 1: Courtesy of Henrique Grimaldi Figueredo Images 2-3: Xzmcrz, Do you love Brazil’s Carnival? Courtesy of Debauxe. Model: Noah Mancini. Image 4: Almeida, Bianca. Yes, nós temos [Yes, we have it]. Courtesy of Debauxe. Model: Noah Mancini. Image 5: Mancini, Noah. A última gladiadora [The last gladiator]. Courtesy of Debauxe. Model: Lady Thusa.
[1] Madov, Natasha (translated by). “Boys Wear Blue And Girls Wear Pink,” Says Human Rights Minister. Folha de São Paulo, 01/04/2019. Available: https://www1.folha.uol.com.br/internacional/en/brazil/2019/01/boyswear-blue-and-girls-wear-pink-says-human-rights-minister.shtml [2] Foucault, M. (1971). The Order of Things. New York: Vintage Books. [3] Butler, J. (2006). Gender Trouble: Feminism and the Subversion of Identity. London: Routledge. [4] Preciado, P. (2018). Countersexual Manifest. New York: Columbia University Press. [5] Langman, L. (2008). Punk, Porn and Resistance: Carnivalization and the Body in Popular Culture. Current Sociology, 56(4): pp. 657–677. [6] Elias, N. (2000). The Civilizing Process: Sociogenetic and Psychogenetic Investigations. London: Wiley. [7] Wouters, C. (2004). Sex and Manners: Female Emancipation in the West 1890-2000. London: Sage. [8] Granata, F. (2017). Experimental Fashion: Performance Art, Carnival and the Grotesque Body. London: I.B. Tauris. [9] The brand name alludes to the Portuguese word deboche, in English debauchery. [10] In George Didi-Huberman sense, sublevaciones as revolutionary seeds.
THE HOUSEWIFE Images courtesy of Itala Aguilera
MIRRORMASQUE Images courtesy of Lilia Yip
[1] Godfrey, M.R. (2011) “The End of the Queue: Hair as a Symbol in Chinese History,” Chinese Heritage Quarterly, 27 (September). http://www.chinaheritagequarterly.org/features.php?searchterm=027_queue. inc&issue=027.
