The Critical Pulse Issue 1

THE CRITICAL PULSE

SEPTEMBER 2020 ISSUE NO. 1

COVID-19 & THE FASHION INDUSTRY COPENHAGEN FASHION WEEK 2020 DIVERSITY AND INCLUSIVITY SUSTAINABLE FASHION WORLD GENDER & DRAG

www.thecriticalpulse.com thecriticalpulse Illustration by Emilie Thomsen

Photo by: Emilie Thomsen

Striped dress

ritical Puls e The C

EDITORS’ LETTER Fashion has many contradictory sides, both hidden and revealed. As a consumer and a participant in the fashion industry, it can be confusing and misleading to navigate the fashion worlds; where do we get the critical information and facts from? We, the editorial team of The Critical Pulse, want to map out the different views and aspects to give you an objective and critical perspective of the industry beyond the glossy pages. With this perspective, we hope you will get a desire to push views, traditions, and conditions within the fashion industry forward. We ourselves have spent time mapping out the fashion industry through our studies, as we are a Danish student-based team of young individuals with an academic background from the University of Southern Denmark (SDU) in Kolding. We study the discourse of design, fashion, and economics, and via this, we want to use our voices to empower and amplify marginalized voices, creatives, and young professionals. In our study of fashion history, fashion theory, and fashion media, we also understand the need for informed and critical fashion journalism. This magazine is our response to that need. We believe that a sustainable, equal, and ethical fashion is the future.

In a time when everything is turned upside down, it offers an opportunity to look at the world and reevaluate values, conditions, norms, and consumption practices. Right now, the industry is facing even more difficulties than ever; the Covid-19 pandemic is affecting the whole world, including the fashion industry, and all its weaknesses are placed in the spotlight. As the fashion consultant, Sarah Willersdorf from Boston Consulting Group (BCG), stated: “The best thing to come out of this very painful time is that we as individuals understand that our individual actions have societal consequences.” This is something we can learn from; we, as a society, have a responsibility for what, who, and how much we accept. In The Critical Pulse, we will show why we must react and resist in areas such as sustainability, diversity, gender, and culture, which will also be the topics we are focusing on in our first issue.

The Critical Pulse will look at themes in relation to the UN’s 17 Sustainable Development Goals (SDGs). We will address sustainability, not only environmental problems but also from a social perspective, as social justice. For us, it is important to put topics such as inclusivity, diversity, and intersectional feminism on the agenda for more equality for all human beings. We want to see a transformation in the fashion system with decolonization. The Critical Pulse will also include reviews of books, films, current events, and other relevant topics. We will not be debating facts, not engage with uninformed opinions, and only be publishing well-researched, and well-analyzed information. The Critical Pulse is a nonprofit magazine and more issues of the magazine will be out in the comming months.

We hope you will read our magazine, and help us change the fashion world.

Sincerely, the editorial team of The Critical Pulse Bjørn Utoft Sørensen, Emilie Thomsen, Ida Fisker-Clausen, Izabella Andersen, Josephine Amalie Grigoriou, Kaya Folmer, Kimberly K. Petersen, Michele Custovic, Nana Sharif Korsgaard, Tea Ingemann Olsen, Julia Wargarden & Terese Weng Mentored and Inspired by Dr. Kat Sark

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Feather

Photo & edit: Michele Custovic & Emilie Thomsen

REWIRING THE SYSTEM AND A RECODING OF THE CONSUMER’S MINDSET

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AN ACADEMICS TAKE ON COPENHAGEN FASHION WEEK 2020

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FALSE DIVERSITY AND INCLUSIVITY IN FASHION MEDIA

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ALT: THE CHIFFON TRENCHES

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TRANSPARENCY INDEXES: NOW

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MASKS AT CPH FASHION WEEK 2020

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FOURTH TIME’S THE CHARM

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JACQUEMUS SPRING 2021- PARIS FASHION WEEK

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A DRAG EXPERIENCE

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MEN AND DRESSES: A FASHION PARADOX

REWIRING THE SYSTEM & RECODING THE CONSUMER’S MINDSET By: Bjørn Utoft Sørensen & Emilie Thomsen

the climate balance.5 The whole garment industry needs a change in the financial system; it would be The fashion industry is violating human’s rights. better to aim for long term solutions and incorpoThere is an asymmetry in the garment value rate sustainability and transparency. chain, and for it to change, the consumer mindset must change. This is important because right CONSIDERATIONS, SUSTAINABILITY now the fashion industry has some of the worst AND TRANSPARENCY conditions for labour workers and is at high risk Sustainability is the ability to exist continually, and it of perspectivation modern slavery. includes the biosphere and human civilization’s ability to coexist. Sustainability includes human rights, Luckily, there are signs of a consumer mindset that is and the UN’s definition of sustainability is one of the changing according to reports such as: The State of most acknowledged ones. It states that “Sustainable Fashion 2020. People are getting enlightened about development seeks to meet the needs and aspiraasymmetry in the garment value chain.1 What do tions of the present without compromising the abilthe demand for greater transparency and social ity to meet those of the future.”6 Our descendants sustainability mean for the garment industry? This have the right to life and survival on equal terms as demand from consumers is forcing brands to take present day people7. Currently, the industry is not actions and not letting a capitalist system ruin the even showing consideration to the life and survival world and humans’ rights to a decent life. of the present population. The garment and fashion industry are hazardous for the workers. One of The philosopher Karl Marx states that capitalism the biggest challenges is that brands choose not to creates a world in which a fantastic wealth of com- know their own supply chains.8,9 This is a problem modities is created by exploiting the many, while because it makes it hard to monitor, and with transtheir enjoyment is restricted to the few.2 He argues parency, it is “easier to identify and assess actual or that “alienation” labour produced what he called potential adverse human rights impacts.10 “marvels” and beauty beyond necessity’, but always at the price of “deformity’” and suffering for the By demanding transparency companies are held acworker” 3. Nowadays, much labour is outsourced, countable for their actions. Brands are required to and there is a considerable resource transfer from know all the steps in their production process from the global south to the global north. It is a transfer who stitched them right through to who dyed the from manufacturers to global buyers and consum- fabric and who farmed the cotton.11 Furthermore, ers, and from labour to capital.4 Concerning sus- companies need to share this information publicly tainability, this first of all does not comply with the for it to be transparent. It is crucial to buy consciousethics of social sustainability; it is using the labour ly because a lack of transparency can cost lives; but workers, not distributing the resources equally, and with transparency, it is possible to create a fairer, secondly, it is inequality and a balance of power that safer, cleaner fashion industry. is not right. The labour workers do the work, and the owners earn much money on it, while the labour Transparency alone does not represent the sort of workers get a low wage. Capitalism has led to eco- structural, systemic change the fashion industry nomic growth, but it is still dysfunctional, typically it needs, but it works as a step in the right direction calls for short-term profit hunting that creates social and highlights the problem in the industry.12 inequality between rich and poor and jeopardizes

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COVID-19, transparency, sustainability, #PayUp, consumer mindset

NOT JUST TURNING A BLIND EYE

#PAYUP on Instagram 07.09.2020

When knowing how bad working conditions are, one should think that significant actions were taken, but unfortunately, it does not seem like it. Of course, some companies take responsibility, some consumers have a conscious mind, but as a whole, this industry is not doing good. Actions from the MODERN SLAVERY consumer are significant because the costs of not Unfortunately, it seems that many garment work- doing anything might be horrific. It is utopian to beers do not live a decent life, which becomes evident lieve that capitalism can continue as before. Therewith how the fashion industry is handling the Co- fore, the consumer must be awake and demand rona virus. The virus has a vital impact on the gar- changes! More companies brand themselves as ment industry. Particularly vulnerable businesses sustainable, but is that even possible with our high are exposed, but the labour workers are the ones consumption and capitalism on which companies facing hard times.13 In the developing world, where make money? These are the questions the consumhealthcare systems are not optimal and poverty is er needs to raise. We cannot buy ourselves into a common, people will suffer the most. sustainable future, not even by buying sustainable products.

At the expense of profits in companies. Workers in low-cost sourcing and fashion-manufacturing growth and consumption are part of the problem. hubs are facing extended periods of unemploy- Therefore it can impossibly be the solution. ment, which will result in hunger and disease.14 Consumers also have to be activist, act, demand The world’s population has been in self-isolation transparency, and say stop on behalf of the ones and has only been allowed to go out to buy essen- who are not able to like the labour workers18. Lucktial goods necessary for survival. Purchasing cloth- ily this is exactly what is happening with a #PayUp ing has become a secondary choice. Usually, many petition against how companies are treating probrands in the fashion industry pay in arrears, which duction workers. means suppliers pay in advance for the materials or fibers.15 When the pandemic hit, brands and retailers canceled orders on already ordered and made goods. Factories, therefore, had no option but to destroy or store the already manufactured goods and dismiss many workers.16 Brands and retailers are currently taking no responsibility for the aftermath it has for the people working in their supply chains. Due to the COVID-19, 1089 garment factories in Bangladesh have been affected by canceled orders for a total value of $ 1.5 billion and 1 million garment workers in Bangladesh have lost their jobs and some workers are not getting paid. Workers cannot provide for their families and do not know what to do if they get infected by the corona virus17.

The problem is unsustainable production practices and western consumerism, with consumers turning a blind eye to the true cost of their cheap disposable clothing and therefore are not taking responsibility.

Most of the labor workers cannot afford to say no to life-risking conditions because they need money. It is these circumstances that make the industry’s conditions perspectivate modern slavery.

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Screengrab by: Emilie Thomsen

Both sustainability and transparency are essential for the fashion industry, but what does it look like in reality? Are these rights respected, and are transparency and sustainability taken into account? And if the consumer mindset is changing, what does it mean for the garment industry?

At the moment fast fashion brands have pressured their value chain so much that a sandwich is more expensive to buy than a t-shirt, which should have started the warning bells in the consumers’ mind.26 Post-corona is the ideal time to take action and change the things wrong with the fashion industry and society in general. The fashion industry must stand together to survive the pandemic, but they must also work together not to make the planet any sicker.27

The virus can teach us to slow down and change our ways, closed stores show extreme overconsumption, and that we easily can survive with less. The pandemic may signal the end of extreme consumerism.28 We should take the time at a standstill to reconsider what this industry stands for and what we can do to change it.29 New norms will be created, and it creates an opportunity for fashion brands to rebuild with a more socially sustainable approach.

However, it is not only the fashion brands that need to change; the consumers also need to change their behavior fundamentally. Transparency and sustainability are a way for the fashion business to survive, CORONAVIRUS AS A CATALYST FOR and COVID-19 may act as a catalyst for these changes. Together the industry and consumer can move CHANGE COVID-19 can be seen as a chance to reassess our the industry in the right direction, but the industry values concerning the workers, our consumption, has a long way to go, and it takes a rewiring of the and the fashion system; all values that we already system and a recoding of the consumers’ mindset to are trying to improve. Furthermore, Sarah Willers- a more sustainable one. dorf consulant of fashion, from Boston Consulting

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Graphics by: Bjørn Sørensen

Activist movements are making consumers increasingly aware of the problems within fashion.

Activism helps enlighten the consumer which also is important because many consumers are unsure about what sustainability means or how to identify sustainable brands.22 Consumers want to know more about their clothes and demand radical transparency. Fashion brands therefore need to take action and move beyond transparency and take real actions, this is what the consumers want; they want to be able to hold companies accountable if they do not live up to their expectations as with the #payup petition during the COVID-19.23 The corona crisis shows how the fashion industry still has many problems and how, when crises hit the brands take adverse actions, but what can we learn from all this?

Is the corona crisis a chance to rewire the system?

Because if nothing is done now, there is a risk of the fashion industry returning to the usual business model when the crisis is over.

Group states that “the best thing to come out of this very painful time is that we as individuals understand that our individual actions have societal consequences,”.24 The COVID-19 pandemic shows how fragile humans are and how our future health and happiness depend on a healthy environment.25 Things have been entirely wrong in the fashion industry for many years. The increasing demand for sustainability shows that the rewiring of the fashion system should be created on a fundament of sustainable practices.

The earth protected by a medical mask against COVID-19 and environmental disasters

The nonprofit organization Remake launched a petition demanding brands to #PayUp because they were canceling in-production orders. Canceling these orders is a significant loss of money, some of the biggest fashion brands owe more than $3 billion to garment factories.19 The petition now has 14,000+ signatures and has reached over 4.7 million. Since launching the petition, 16 brands have now agreed to pay for back orders, totaling upward of $600 million. Remake also call out brands that have not yet promised to #PAYUP. Conservative estimates that the #PayUp campaign has helped unlock $7.5 billion in unpaid orders globally again, it shows how much power the consumer has.20 This is an example of how companies need to meet consumer demand for change.21

Copehangen Fashion Week 2020

AN ACADEMICS TAKE ON COPENHAGEN FASHION WEEK 2020

Photo: Kat Sark

By: Izabella Andersen, Josephine Amalie Grigoriou, Kaya Folmer & Michele Custovic Why would academics go to fashion week?1 We need a more informed fashion industry. The industry and academics/researchers need to collaborate more to get a better future in fashion. In this review of this year’s fashion week, we will give our insight and impression of the experience we had. We were there for one day, on Tuesday 11.08.2020. Throughout the day, we attended the trade shows and some panels and observed some focus points that were significant and stood out for us.

BLACK LIVES MATTER AND MASKS

This year’s fashion week was very influenced by the changes in society. This includes the pandemic and the use of masks, as well as the Black Lives Matter movement (#BLM) and discussions about racism around the world. This was seen at fashion week in the form of talks and interviews about racism in the fashion industry, and the presence of masks that were all around, including on display at the trade shows.

The panels about racism were very rooted in the activism and frustration that many have felt about the treatment of black people in society in general, and how the fashion industry reflects that by not being diverse enough. It was a good experience to attend the panels, however, we could not help but feel disappointed, as we were expecting a more in-depth (and solution-based) conversation about the topic.

The talks were rooted in feelings and personal experiences rather than research. Furthermore, they only scratched the surface and the talks were very short. This way of talking about racism is a good way to introduce a discussion and bring more new people in but to make a change we need to go further.

The second focus point was the use of fashion masks vs. medical masks, as many brands had produced their own, as a part of their new collections. However, when observed closely, these did not live up to World Health Organization (WHO) standards of medical masks, by only having one or two layers that often could not be washed at the minimum of 60 degrees and none of them included filters or pockets for filters2. The masks were more of a symbol or a fashion statement, rather than an essential and hygienic tool for a global pandemic. Also, we did not see anyone wear any medical masks, or any masks for that matter, at both the trade shows or panels.

SUSTAINABILITY

Another thing that made an impact was the ongoing discussion about sustainability. It was noticeable that several brands had used recycled fabric and materials for their new collections. The increased interest in sustainability could be a visual manifestation of the 17 point list from the CEO of CFW Cecilie Thorsmark.

The 17 points represented 17 ideas and goals, which are a part of a three-year-plan to make fashion week

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Masks, racism, plus size, tradeshows, fashion week

more sustainable throughout the whole value chain by 20233. This plan was revealed at CFW A/W in January 2020, with the “The Sustainability Action Plan 2020-2023, which aims to reduce Copenhagen Fashion Week’s climate impact by 50% and to make the event 100% zero waste by 2022”4.This made CFW seem like the most sustainable fashion week, but it is still a work in progress, and we need more information on where materials originated from, more transparency about the working conditions in across the supply chains, or other sustainable approaches. The sustainable approach is positive, but the need for more action, information, and results are significant. We need sustainability to be a focus for real and lasting change, and not a concept or trend. The sustainability plan is still new, and hopefully, we will see these changes in future fashion weeks.

PLUS SIZE FASHION

We would also like to see more representation and diversity. They started the conversation around race and racism, but we need to expand that to include size inclusivity and the normalisation of “plus-size” fashion, which until now, brands have seen as unworthy to include at fashion weeks. The entire day at fashion week, we did not see a lot of “plus-size” representation at the trade shows, neither the staff or the social hubs represented this. Gender diversity and representation was also not addressed at CFW, which makes us wonder whether the anti-racism panels were just a token gesture in response to #BLM. The work including race and sustainability are the big topics that they are working on, but they still have a long way to go when it comes to diversifying fashion week and the fashion industry. They also need to have a focus on greater inclusivity and representation.

In conclusion, the collaboration between academics and the industry in the field of fashion can help to make a real and lasting change in the industry. The fashion industry is often seen as a solely creative field, but by including the academic side of fashion, it could help the industry navigate the heavy topics, such as sustainability and ethics, in today’s society and make the change needed. We need collaborations and to help each other to make a healthy new industry.

Copenhagen Fashion Week 2020 Photo: Kat Sark

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MOODS OF FASHION WEEK Copenhagen Fashion Week 2020

Photos: Josephine Amalie Grigoriou, Kaya Folmer

Copenhagen Fashion Week 2020 Photo: Kat Sark

At Copenhagen Fashion Week Else Skjold showcased her new book KlĂŚd dig bedre. The book waste and want to know how to build and maintain a more sustainable wardrobe.

k is for people who are interested in less clothing

Copenhagen Fashion Week 2020

Photos: Kat Sark

Copenhagen Fashion Week 2020 Photo by: Kat Sark

Copenhagen Fashion Week 2020 Photo by: Josephine Amalie Grigoriou & Kaya Folmer

Copenhagen Fashion Week 2020 Photo by: Josephine Amalie Grigoriou & Kaya Folmer

Copenhagen Fashion Week 2020 Photo by: Josephine Amalie Grigoriou

FALSE DIVERSITY AND INCLUSIVITY IN FASHION MEDIA By: Kaya Folmer & Tea Ingemann Olsen Institutionalised racism within fashion media thrives due to our ignoring of its existence. This is reflected through the false diversity and inclusivity that is represented within fashion media, which gets visible through the treatment of influencers depending on how close they are to the guidelines of the ideal beauty standards set by the fashion industry, which is a reflection of the functions of the world which is a result of the history.

it is more about the ability to sell magazines and create the delusion of being inclusive, but actually promote the ideal beauty represented by a young woman.3 This strategy can also be seen in various fashion media, when brands, magazines, and others place non-white people along with white people to create the impression of diversity, when in fact it is a delusion which creates false diversity and with it inequality.

DILUTION AND BEAUTY STANDARDS This is important to talk about, because we as con-

Dilution is a strategy used in fashion media deployed by the fashion magazine Vogue and is normally used in the context of fashion and age, where they will put an elderly woman in a picture with a younger model. An example of this could be either in the form of decades where the models are of different ages or as generations where older women are put on the cover with their daughter. This is done so that magazines can relate to a wider audience, without catering to that specific market, so

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FALSE DIVERSITY, TOKENS AND AESTHETIC LABOUR

Our podcast TimeOut seeks to look at false inclusivity through promotion of false diversity in the world of fashion influencers, in the hope of starting a conversation that could create solutions. This podcast can be listened to on Spotify, Anchor and Apple Podcast and has served as the inspiration for the writing of this article about false diversity and inclusivity in fashion media.

Visuals created by: Ann Louise Flaathen

We are in today’s society convinced that we act inclusive towards all ethnicities, body types and cultures, because it is promoted through media channels, like Youtube and Instagram, very effectively, but is that the whole truth?

sumers are not always aware of whether or not what we see is true or false in the context of the diverse messages that brands and companies send out through their media channels. If we as consumers are not aware of a problem then how are we supposed to fix it? Because you can not fix what you do not know is broken.

Time out podcast

The ideal beauty is, according to Breana Jones´ thesis about diversity in fashion advertising, classified by industry professionals as “white models that are thin and tall with long, blonde hair and blue eyes”.1 This creates a norm in society that is a direct reflection of the classification of ideal beauty. It is important to break with the idea of the existence of a normal versus a diverse, because when it is argued that something is the norm or outside the norm, it creates an inequality between people because the norm is defined as expectations of social behaviour, which helps to reinforce the ideal.2

Fashion Industry, Bodypositivty, Racisme, Inclusivity ,Diversity

It is essential to look at false diversity in fashion media (i.e. social media, magazines etc.) because it reflects a general flaw in our societal structures, where institutionalized racism thrives due to our ignoring of its existence. After all, these structures of society are upheld by our way of living with each other. In the fashion industry, a black woman can easily become what you term a “token black girl” who is a black woman whose only attribute to a given situation is the color of her skin, which is used to create the idea of diversity. An example of a situation where a black woman becomes a token can be illustrated with the case of influencer Kianna Naomi and her collaboration with the brand Dote, where Kianna Naomi was feeling like the “token black girl” amongst Caucasians.4 This manifested itself through the brand’s treatment of her, when working with them on press trips. On these press trips, Kianna Naomi is not included in photoshoots or other activities and is only relevant when the group is lacking diversity in terms of skin colours represented. This idea of black women being relevant when it comes to work in the fashion industry, only because of the color of their skin, dehumanises them and downgrades women of colour to an object.

It is not uncommon that people within aesthetic labour get objectified. Joanne Entwistle and Elizabeth Wissinger describe aesthetic labour as jobs where you have to look good and sound right as a part of what the job requires, because of the standards in the fashion industry and the parallels between influencers and models. The influencer job would also be considered an aesthetic labour job. A job where a person’s physical appearance is a critical part of what the person has to offer, which is the essence of aesthetic labour.5 In addition to the pressure of having to look good and sound good is the ideal beauty standard, which excludes people who do not fit within these guidelines. However, it is known that women tend to become more loyal to brands that promote models who look like them or are more diverse in general.6 Many companies therefore try to feature more diverse people to promote their brands because that is what the consumers want, it becomes a trend for profit instead of a real change.

The “real” woman becomes an advertising strategy instead of a real change in diversity and inclusivity.7 This is the reason for Kianna Naomi’s experience with Dote, because she is nothing but a small piece in this strategy of false diversity in promotion of inclusivity in the search for increased profit and more consumers.

INFLUENCERS AND INFLUENCER MARKETING

An influencer is a person who impacts you in some way, they are people who have become famous through social media platforms, by building themselves as a brand.8 The term influencers will be used to describe a new type of social media-based celebrities who we see and follow on different social media platforms.

The phenomenon of influencers has created a new form of marketing, called influencer marketing, which according to Mamta Ranga and Deepti Sharmas in their research paper on “Influencer marketing – a marketing tool in the age of social media” is defined as “the procedure of developing relationships with influential people that can influence the enormous number of potential buyers which may not be possible in case of a common person”.9 The idea about influencers and influencer marketing is an important part of the conversation when it comes to diversity and inclusivity in the world of fashion influencers. We have to know and understand the impact influencers have on our lives, to be able to take a more critical stand against it. Not all influencer marketing is bad, and not all good, but we have to be more critical in the aspects of what we see on our social media channels and what messages we are exposed to. Influencer marketing is very effective because consumers have another relationship to the influencers they follow, they find them more relatable and trustworthy, which is why brands use them so much, because if an influencer gives a brand their seal of approval, then many of their followers will too. According to a study called “Instafamous and social media influencer marketing“ made in 2018, social media branding including influencers, with a focus on fashion media, were perceived more positive than of normal celebrities, who are defined as people who are famous through TV, film, music and so on. In their conclusion, they stated that consumers viewed social media-based celebrities as more trustworthy, relatable and more present.10 This shows why influencers are important to the consumers, but also for marketers.

Mamta Ranga and Deepti Sharma also account for the societal impact of social medias. They argue that 43% of people between the ages 20-29 use approximately 10+ hours on social media weekly, which also explains why 94% of businesses uses social medias as a part of their marketing, because it is where the younger generations spend a lot of time.11 Im-

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agine that a lot of these businesses engage in false diversity, by using influencers of colour to reach out to like minded potential buyers (through Instagram, YouTube etc.), without actually wanting to create a more inclusive discourse in the world of fashion media. Then they could potentially uphold the discourse of false diversity to at least 43% of young people between the ages of 20-29, many of whom, may not even be aware of it being false.

SOCIAL CONSTRUCTIONS AND DISCOURSES

The fashion industry is a structured space that is controlled by rules and practices that shape the people who act inside it.12 If we want people to see the false diversity and inclusivity we need increased awareness around the problem. A way to question the power of the media and the discourses could be through the encouragement of minority groups like black women in the industry to speak up about the false diversity they experience and promote it through their media platforms as Kianna does in her video. We need to start a conversation around this topic and spread it to the consumers to change the discourses that we experience, this will take a lot of time and resources because the problems are so deeply rooted through the power relations in the industry.

Photo used with permission from: rf._.studio

Diverse women

Diverse women

Photo used with permission from: rf._.studio

If we want to change the discourse it has to happen from the inside of the industry, through the consumers as they have the power to stop purchasing from companies that promote messages that they do not agree with. The consumers need to be reminded of that power and become more critical of

the messages they receive and the social constructions that they take part in.

In the theory of knowledge there is a theory called social constructivism. It argues that we as humans experience the world subjectively, and the reality of the world is therefore made up of social constructions we make individually and collectively.13 These constructions get articulated through our communication (language) with each other, so we can be able to make meaning of the world which we are a part of, because meaning can only be created through the languages we ascribe it.14 So, this would mean, according to this theory, that the whole idea of the existence of normal and diverse is made up by humans. If this were true, then it could be possible to delete the idea of diversity because we construct our social reality through language, and therefore we can change our reality to move beyond (false) diversity�

It is problematic that we in our society have a discourse, which states being a person of colour is different (diverse), because it makes the Caucasian origin seem like the norm. This takes us back to the past with racial inequality where one race was over others, which is what we need to move on from, if we want to end institutionalized racism. Furthermore, it is important to look at race since it also is a social construct, that creates a discourse, in which we are not all on equal footing. This is problematic, since we are all biologically the same and there is therefore no need to label us with more than human.

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From The Chiffon Trenches by AndrĂŠ Leon Talley Photo: Terese Weng

Fashion history, fashion journalism, vogue

ALT: THE CHIFFON TRENCHES Review by: Terese Weng With his accounts of ‘heavyweights’ in fashion, it is clear that his admiration and respect for the artists and muses behind the biggest brands and fashion houses in the world; it extends past the professional level, into a recognition of the sacrifices it takes to make it to the top posts of the fashion industry. ALT also makes it clear that even though fashion is an industry built on beauty, its ugly sides are just as bad as any.

He accounts and reflects on the racism and sexism he has faced as a gay black man, and how it has affected him and his career as the world – both inside and outside of fashion – has changed, and become more aware of the systemic racism that has dominated the modern western world and the fashion industry for centuries.

As ALT details his long-running, and suddenly ending friendship, with Karl Lagerfeld, he makes it clear once and for all that the pIn his second memoir, André Leon Talley gives an honest glimpse into his long, and sometimes painful, life in the fashion world. From his Christian upbringing to life as one of fashion’s most valued editors, The Chiffon Trenches tells the story of ALT unapologetically, and without sugarcoating the use-and-throw-out culture of friendships and other inner workings of the industry. ALT elegantly reflects on his personal life and childhood traumas as he tells the story of the fashion history, he is a part of.

The book touches base on several significant designers and other industry markers, such as Karl Lagerfeld, Lee Radziwill and Andy Warhol to name a few; which emphasizes that the right contacts make or break a career.

Power of Vogue laid not solely on Anna Wintour but on the connections of her editors as well. Thus, The Chiffon Trenches is a memoir filled with fashion memories and appreciation for the people who, during André’s long life, have stood by him, helped him and respected him. His memoir is one of a man that is done apologizing and ready to say when feelings have been hurt. In the age of cancel culture, ALT manages this with a great deal of respect for the professional life of fashion’s elite.

The book serves as a fashion lover’s guide to understanding the inner works, as well as gaining a bit of ALT’s vast knowledge of fashion, art and the people behind it. Humbly, he separates himself from the designers and artists he admires, thus, making leeway for him to objectively – and often subjectively – comment on the way they have shaped fashion today, as well as how today has changed fashion. Without overpowering, ALT leans into the guilty pleasure that is Anna Wintour’s Vogue, and dishes opinions and backstage views on the infamous editor-in-chief. Although ALT’s work might not have been as recognized as he would like, one thing is sure, he is done apologizing for himself. With the book being published in the wake of the #Black Lives Matter movement and the killing of George Floyd, ALT has secured that his account of his experience as a black man in a high position is being heard. Furthermore, the book also puts pressure on the innervertible change in the top of fashion publications, which are often run by privileged individuals who, before now, has not been forced to look at their position and influence as one that has been forged by the white privileged paradigm, the western world is now so desperately seeking to abandon.

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TRANSPARENCY INDEXES NOW By: Michele Custovic Global fashion textile consumption is estimated to be more than 30 million tons a year, which causes serious impacts socially and on the environment.1 Fashion companies have in pursuit of low production costs, outsourced most of their production to developing countries. Thereby they have also taken advantage of lower environmental awareness and looser environmental regulatory systems in developing countries.

However, companies claim to be more sustainable, through more sustainable materials and green campaigns, but how sustainable are they in reality? This will be explored throughout Fashion Revolution’s Transparency Index2, where companies are given different scores in regards of how transparent they are in different areas in corporate social responsibility. Nike and H&M will be used as examples. How transparent their supply chains are and how might this influence their consumers attitudes towards them. In addition, I will explore how consumer behavior can be affected through companies’ meaning management.

CONSUMER BEHAVIOUR AND MEANING-MANAGEMENT

When it comes to fashion and the fashion system, consumers and companies both play a role. Consumers fund brands’ success and can also boycott them, which gives the consumer a certain power.

There are many brands and suppliers to choose from, which means consumers should look for other brands that have a better approach towards sustainability. However, the value of fashion objects is different today and seeing through brands business practices can be complicated. Therefore, the information and marketing surrounding brands and their products can be highly misleading for consumers. I will analyze some of these factors and how they work: how value is created, greenwashing is used, and how it impacts us as consumers.

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MARKETING STRATEGIES

Companies use many strategies in the pursuit of a positive image and establish of their brands as green. Greenwashing has been used, which is a process of conveying a false impression or idea that a product is environmentally friendly. Greenwashing has become problematic, since it gives false information about a products origins’ and manufacturing, by only putting emphasis on the positive. Furthermore, there is no definition whether something is completely green washed or only partially. It can be argued that all fashion companies do some level of greenwashing, since they will never display their whole supply chain from the beginning to end.

This will also be made visible throughout the index.

Companies will always hide certain business practices and highlight others as “we are doing something”, which gives the wrong impression to the consumer. The consumer gets a good feeling about buying “green” when they might have supported organic cotton production but fueled low wages and conditions in developing countries.

MEANING-MANAGEMENT

Because of fashions’ fast movement and trendbased nature, fashion itself is a paradox. Clothing has already lost its value when it leaves the factory.

The value of branding and marketing has therefore increased rapidly, transferring, or prolonging the value of clothing objects. The value does not solely lie in a functional aspect or a specific trend, but in the surroundings of the clothes and brand. Consumers become very loyal and for some the brand can also act as a community3. This value is created for and with consumers. “We are beginning to suspect that the consumer is not the passive recipient of meaning of objects but an active player in the process of their making.”4 This means that the consumer is considered an active player in the value making process, and therefore the consumer must also have the power to take meaning and value away from objects. Besides creating value through

sustainability, transparency, nike, h&m, green washing, marketing, exploitation

advertisements, packaging, fonts etc., each company and product category often has a body of meanings, or heritage that have surrounded the company over time. This enriches the meaning or value of the brand and can strategically be taken advantage of, as the meanings are already in place.5 However, if this meaning-management gets mismanaged the consequences for a company could result in big losses economically and in their segments.

SWEATSHOPS

Sweatshops are used in fashion companies’ supply chains for their manufacturing of clothing. Most well-known brands from high to cheap brands take advantage and exploit low-cost labour’ in developing countries: ” There is an inexhaustible list of brands caught using exploited labor. It extends well beyond the cheapest brands. It keeps growing to include H&M, Nike, Reebok, Adidas, Converse, Gap, DKNY, Levi’s (…)” - Hoskins6 As Hoskins suggests, no clothes exist that have been made without exploitation of human labour.

Some companies have just not gotten “caught” in these practices.7 For my analysis, Fashion Revolution has provided a Transparency Index every year since 2017. I will use the latest index “Transparency Index 2020”.8 Both Nike and H&M have had their controversies and struggles over the years, from Nike being associated with blood money in the 90’s-20’s,9 to H&M burning clothes at Scandinavian burning facilities.10 However, through new marketing strategies and a set of good practices they have attempted to change their image and goals towards something positive. Examples of these initiatives is collabs, campaigns, and increased use of sustainable materials in their products.

HOW CAN WE USE A TRANSPARENCY INDEX?

The Transparency Index is made of 5 major areas of measurements which consist of: policy commitments, governance, traceability, know, show & fix and spotlight. These are comprised out of 220 indicators which are analyzed and then rated for each brand. Topics such as, animal welfare, biodiversity, chemicals, climate, due diligence, forced labor, living wages and many more are included. 250 brands participated in the index and this number has been increasing every year. The picture below shows what is analyzed in the 5 areas and how much weight each area has in the final scores.

Overview of Fashion Revolutions 5 areas of analysis for their index2 Graphics by: Michele Custovic

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policies but do not show them in practice. The index also shows that companies can score different A change in methodology can show different re- in the areas which will be explored in the following sults from year to year for brands, that do not neces- analysis. sarily mean that companies have changed anything (1-2%). Furthermore, scores are rounded which can THE INDEX RESULTS give deviations in the final score; however, all orig- Nike scored 55% and H&M 73%. H&M is clearly leadinal scores and excel sheets of the index are availa- ing in this Transparency Index. Both are in medium ble on Fashion Revolutions website. Another aspect to higher range. Both published detailed suppliers that makes the analysis hard is information dump- lists, disclosed most information on human rights ing, conflicting facts and statistics in documents and environmental policies. The difference is that provided by the brands themselves. Most compa- Nike publish some detailed information about findnies do not provide much information on living ings of their supplier assessments and address some wages for workers and social and environmental is- issues but does not give all details. According to this sues in their documents. Transparency Indexes pro- Index, H&M is providing more detailed information vide a good overview and quality information for about manufacturers, processing facilities and supconsumers, which gives them a better position to pliers of raw materials. They also share more comstand up against brands and be able to make edu- paratively and more comprehensive detailed inforcated choices. Transparency throughout companies mation. This also matches with their sustainability supply chains make them take more accountability report of 2019. Nike does claim that innovation toand can be used as a tool for change. When all data wards sustainability is a priority, hopefully they will is gathered in one place over most fashion brands, a disclose more information in this area. H&M might dialogue and negotiation of change is much easier. score high, however there have been controversies The Index can in act as “a carrot� to brands for a pos- throughout the last years. The index does not show itive image and an opportunity to share how they whether a brand is bad or not, but judged them on make things better with progression. Participation the information given and found, and on their visiin the Fashion Transparency Index is also influenc- ble initiatives. Which means that the index does not ing brands to disclose more social and environmen- tell the whole story of a brand and can give them an tal information. The increasing number of brand indirect image of doing well or badly. participation each year is proof of this. It gives them an overall better image and they are acknowledged CONSUMERS ARE ACTIVE PLAYERS for their efforts. However, most companies do not Although both companies have had their history provide actual scientific track of results and pro- and previous, scandals both Nike and H&M have gress of their sustainable initiatives, which is the key improved their approach and initiatives towards to make progression. Instead, they describe their sustainability. Although H&M is leading, it would

DEVIATIONS AND MARGINS OF ERROR

Score H&M Group

Policy and Commitment 91 % 91 %

100 % 50 %

Both brands has good policies for both their employees and own workers in the supply chain. Furthermore, this means that both brands also show how these policies are implemented and how the company prioritize issues

Governance investigates who on the executive board has responsibility for social and environmental performance. How they are implemented and how they are linked to employees and CEO and supplier performance.

Nike

The INDEX Result

Graphics by: Michele Custovic

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Governance

Trace 77

59

It is here, we can se brands publish th all three levels: m cessing facilities a materials. Furthe investigate if add workers, gender r disclosed and how mation’s are upda

only be expected that Nike, as market leader, also do more sustainability, which will push competitors and other brands to do the same. It is positive to see statistical data that shows any improvement, but there is still a long way to go. Throughout the analysis it is clear to see that fashion companies find it easier to focus on sustainable materials than on how to stop exploitation of cheap labour, which only proves that their focus is primarily profit. They tend to put emphasis on their innovation and development of new and more sustainable materials and ways of producing them. However, exploitation is still a big problem. Without scientific and statistical data companies can claim anything but not have any actual proof. The Fashion Transparency Index is a good opportunity to motivate companies on doing better. Even though some companies probably still do not care about sustainability, the more brands that join these surveys and analyses, the easier it is putting pressure on them.

Companies also heavily rely on their meaning-management and partial greenwashing. I would argue that if a company cannot proof that a fashion item is not completely sustainable from beginning to the end it is partially or totally greenwashing. Meaning-management and value creation are also things that might be problematic today given that consumers are too attached to a brand, even though the brand clearly has bad business practices. This has improved today with social media, which has given consumers more power to express their feelings towards a brand or product. Consumers are active players and the ones funding the brands besides stakeholders, which means consumers should be aware of their power towards companies. We also

eability 7%

9%

ee the whether the heir supplier lists in manufacturing, proand mills, and raw ermore, they also dresses, number of representation are w often these inforated

need to understand how culture impacts consumer behavior more, and how certain practices become a blind spot by becoming natural and a part of the routine.

IS TRANSPARENCY THE SOLUTION?

Creation of meaning and value can conflict consumers’ decision-making process, and companies can get away with many things as seen in previous scandals. Meaning management can be crucial to companies, and the use of marketing and greenwashing can mislead the consumers, making them unable to take well-educated and sustainable purchase decisions. All companies do a partially form of greenwashing, since there are no proof of their products being totally green. Meaning management and brand association helps companies through “hard times.” Nike was criticized enormously for many years, and the fact that things must go that far for companies to react just shows that companies can get away with anything if not confronted. In addition, companies’ first priority will always be profit, this is their fuel.

All companies exploit cheap labour11 and put emphasis on innovation and the positive areas. Even though fashion companies work towards sustainability, fast fashion and over-consumption will never be sustainable. However, we can set standards of how sustainable we want to be, making it easier to reach a certain goal despite changes in statistics. It is positive to see a more detailed report from H&M12, and hopefully more of these kinds of reports will be the front runners for a successful sustainable growth.

Know, Show & FIx 56 %

Spotlight Issues 63 %

27 %

51 %

Here both brands takes a dip from their usual scores, Nike at only 27% and H&M on a solid 56% in know, show & fix results

Lastly in spotlight issues approach, it is explored what brands do to address different issues as forced labor, gender equality, living wages, overproduction, use of more sustainable materials, microplastics, deforestations, climate change and water use.

Final Score 72 % 55 %

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MASKS AT CPH FASHION WEEK 2020 By: Josephine A. Grigoriou

Masks have found their way into our lives as a new norm of wearables since the outbreak of Covid-19 and were everywhere at Copenhagen Fashion Week (CFW) 2020. But in Denmark, we are only now slowly catching up to this new dress code, with a growing discussion around the topic of “fabric-masks” and if/how this new (sometimes fashionable) item should be considered a tool for safety. It is especially problematic to accept all fabric-masks, both designer-masks and homemade-masks, as safe, when you consider they are clustered together in a market with little to no regulations before going up for sale. This article, therefore, seeks to enlighten consumers and designers on the bare minimum regulations, while comparing them to designer-masks that made its way into Copenhagen Fashion Week 2020).

they are seeking to benefit from this momentarily new global trend, that has the market booming with tons of different masks without providing the necessary transparency on regulations and safety.

Mask-brands at CFW failed to describe their production, material use, and maintenance in a way that people would find useful and safe.

Cloth-masks are generally categorized as hygiene products when bought from retailers and can therefore not be refunded. I’m using the term fabric-masks for those that fit the official regulations, and fashion-masks for those that do not comply and live up to the minimum regulations assigned by the World Health Organisation (WHO)1 and the American Center for Disease Control (CDC).2

FASHION WEEK’S ROLE:

Fashion Week should be the beacon of light for designers and consumers. It is where one should look for better, ethical, sustainable and innovative ideas coming together for designs to inspire the rest of the world. But I will argue that this Fashion Week has failed to get ahead of the industry by promoting products that do not comply with the World Health Organization (WHO) recommendations on masks during a pandemic. . Firstly I will explain what a fabric-mask should consist of, and then compare that knowledge with some of those masks I saw at CFW 2020 (without mentioning any particular brands).

Afterwards, I will share some thoughts and suggestions on how the fashion-mask industry could improve in the future.

FASHION-MASKS VS SAFE FABRIC-MASKS

For uneducated consumers, it can be a jungle to navigate a mask-flooded market, where cloth-masks are globally sold without proper descriptions and disclaimers. It is therefore relevant for consumers to spot the differentiation between masks before purchasing. I will argue that the brands represented at CFW are hiding from their responsibility. Instead,

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WHO’s guidelines on cloth mask Photo: Josephine A. Grigoriou

SAFETY REGULATIONS FOR A FABRIC MASK

The WHO has outlined requirements for a fabric-mask to meet the appropriate minimum of safety. If applied accordingly, some fabric masks can reach as high as 93% filtration efficiency.3 This next piece is therefore what researchers recommend using in a cloth mask as of 2020: - An inner layer of absorbent material, such as cotton - A middle layer of non-woven material such as polypropylene - An outer layer of a non-absorbent material, such as polyester or polyester blend4

MOST ESSENTIAL REGULATIONS:

A fabric-mask must be constructed with a minimum of three layers where the recommended materials are 2 layers for the mask and a changeable filter.

The inner layer should be water-absorbent, dense, non-stretch cotton fabric, the filter should be in a Polypropylene material that does not easily absorb liquid, and the outer layer should be made from a synthetic non-woven polyester blend.5 Earlier this year, on April 24, 2020, research was published on what materials to choose from when constructing a fabric-mask. It showed that an outer layer made from preferable chiffon and an inner layer of cotton with a density of 600 threads per inch, if made to properly fit the face, would be considered close to 95% safe.6 Furthermore, the fit of the mask is very important, since breathable gaps between the face and the mask may lower the protection level with about 50 points less filtration efficiency ( described as Fe i%) and may leave the wearer with a false sense of security.7 Therefore, the pattern is just as important as the materials to choose from. The most recommended pattern is the Olson-pattern, where the two inner layers are creating a pocket for an optional filter, and it is the recommended style for donated masks.8 It is also not recommended using masks with vents since these do not filter out droplet-borne bacteria.9

long run, since the centrifugation of the washers will weaken the density of the fabric over time and thereby its ability to filtrate unwanted particles. it is even possible to detect a higher filtration efficiency from using the right tool in the construction of the fabric-masks. Research indicates that using a ball-point needle will have a slightly higher effect on supporting the filtration than a sharp-pointed needle.13

Surgical masks removed 53%–75% of particles <300 nm from air when worn as designed Cloth masks ranged in particle removal efficiency from 28% to 91% when worn as designed

Photo: Josephine A. Grigoriou

For private use, one can choose freely between elastics to hook behind the ears or strings to tie in the back of the head, but not all elastics are recommended since some can absorb bacteria more easily than others and do not stand boiling water as well as a simple fabric string. This also indicates that fabric-masks need a certain resistance built into them, so the wear and tear do not make the masks decrease in safety over time. The WHO states that any fabric-mask needs to be washed between 60140°C after every use, but natural-rubber bands can only endure around 93°C,11 while silicone rubber can endure up to 200°C.12 Therefore, it is relevant to know what material has been used in the process of creating a mask. Furthermore, consumers need to know how to take care of their fabric-mask in the

Mannequin at CIFF trade show at CFW 2020

A nylon overlayer improved particle removal efficiency of many masks by minimizing gaps10

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One of the few live catwalk-shows, organized by the brandâ&#x20AC;Ś provided free sponge-masks and free hand sanitizer for their invitation-only guests. Only a few people decided to wear these, since the rest had either already brought fashionable matching masks, or approved medical masks, or decided to not wear them at all. The sponge mask should however never be considered as safe, since its filtration efficiency was similar to a sponge-washcloth material. This mask was just thinner and laser-cut melted in the edges and therefore has close to no filtration efficiency built into its high water-absorbent sponge material. The un-boilable material would allow bacteria to thrive over time with the moist sponge environment as a breeding ground for mould. But it could be used as a poor single-use filter for masks since it is made out of Polyurethane.

Seqenced mask at Revolver trade show CFW 2020 Photo: Josephine A. Grigoriou

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At the CIFF trade show, fashion masks decorated

Photo: Josephine A. Grigoriou

Photo: Josephine A. Grigoriou

Masks as front-row swag at CFW 2020

Many of the mask-brands that I questioned at the trade shows during Fashion Week about either the construction, material use, or maintenance, merely tried to claim that â&#x20AC;&#x153;their products are not meant for safety, only for fashion.â&#x20AC;? It made me question if the brands had even considered implementing safety regulations, so I was allowed to inspect the masks ( seen in the picture above). This was constructed of two very thin layers of see-through cotton and an embellished paliete cover, with elastics in the sides and made in the surgical pattern style. Furthermore, the mask maintenance-guide recommended that the mask should only be washed in cold water to not melt the ornamentation (which WHO deemed insufficient in their guidelines from June 5, 2020).

By lacing the approved safety-design within the product, the company expressed no interest in making a safer piece, but rather wanted to make unique hand-painted mask for high fashion statements.

A woman wearing a mask at CFW 2020

MASKS AT CFW 2020

the showrooms. Whenever I looked for maintenance-guides, the excuse was again that the masks were non-medical and that the guide was packed with the sealed product. This proved that a lot of the fashion brands making masks have not considered customers would be looking for abilities in masks as you normally do with hygiene products before purchase. I therefore argue that fashion masks in general lack transparency. Especially when masks are considered to be hygiene products, it is unacceptable to not provide the buyer with efficient information.

The only description I fount online was information like “masks consist of two layers: 100% cotton,”14 again indicating that these masks were nothing more than fashion accessories. Thus, fashion-masks are a separate category of fabric-masks that do not rely on transparency as other hygiene products.

making masks that do not fit the WHO regulations: - It should be made with multiple layers of fabric so it’s thick.

- It rests under your chin and on the bridge of your nose.

- It needs to be secure around your ears with either straps or ties.

- You should be able to breathe easily with it on.

- If it’s made from cloth, you should be able to wash it.16

CONCLUSION

Fashion-masks are presented as an innovative and needed product, but it fails to incorporate the essential rules of regulations for either protective or hygienic products. If fashion masks are not safe, protective, nor hygienic, then the ethical questions we all need to be asking run much deeper than what is the purpose of a fashion mask in an unsustainable fashion industry, a polluted ecology, and an industry based on the exploitation of people and the planet. For mask makers, it is utmost important that they implement higher transparency regarding their product descriptions and that they gather the required information and knowledge before creating wearables that could potentially harm.

I strongly wish that in the nearest future we could get a label like “fair trade or organic” to clearly mark Photo: Josephine A. Grigoriou masks, when or if that mask lives up to the recomTHE PURPOSE OF A FASHION MASK mended guidelines. Until then, consumers must deFashion-masks were, therefore, the only masks I mand higher transparency regarding this product, found at CFW 2020. Unlike the fabric-masks that and if the brand does not provide the necessary inwould indicate that it has a purpose and would formation, we must look to others for more honest be some sort of a reusable tool against unwanted products before supporting unethical brands beneparticles of viruses and pollution. The purpose of a fiting from this trend. fashion-mask is to create more fashion items that will support the company sales, while essentially In accordance with its own new mandate of sustainbenefitting from a global trend and a global pan- ability and ethics, CFW should in the future demand demic. My main argument is that with its empha- higher transparency and responsibility from brands sis on sustainability and transparency, CFW should and products displayed at their trade shows before hold all brands and designers to a higher standard entering the mass market. Information is key when when it comes to masks, as well as any other prod- shopping for safety, and it is necessary for compaucts. Earlier this year in June 2020, Cleveland Clinic nies to be more transparent and proactive during a expressed themselves on the matter of facemasks global pandemic. The main take-away from this artibeing too trendy. Their expert in quality and patient cle and that producers, consumers, fashion retailers, safety stated, “if wearing a fun or fashionable face and Fashion Week organizers need to stay informed mask helps you wear it more, and it still fits the cri- on the WHO recommendations and collaborate teria to be effective - then there is no harm in it. In more with researchers, to make the fashion industhe end, it is about protecting other people.”15 This try (including Fashion Weeks) less toxic (especially highlights the issue of so many brands who are during a global pandemic).

A masked outfit poster at CIFF trade show at CFW 2020

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Download your own fashion masks to colour on our website www.thecriticalpulse.com

al Pulse Critic The

FOURTH TIME’S THE CHARM By: Nana Sharif Korsgaard Fashion collections have become a tool in which designers can regularly communicate their latest designs and ideas, and share a message. This can set the tone of the current political landscape within the fashion industry, by raising questions: is the fashion industry diverse? Is it working towards an appreciation of the globalized world in which we find ourselves? From the use of models of colour (MOCs), hairstyle choices, and the inspiration behind their collections, designers try to show how diverse and accepting the industry is. While they try, the debate of cultural appropriation continues to pop up. There has been a constant debate about inspiration vs. appropriation; we have seen it with John Galliano’s Dior Spring 2003 couture show (and Spring 2007 and Spring 2009 shows). He took inspiration from a trip to China and Japan. While inspiration is not wrong, the way he showed it was. Not only were all his models white women who walked out with Geisha and Kabuki make-up, but Chinese dancers and circus performers were used as background props to “enhance” the show. Considering that China and Japan were inspirations behind the collection, why not include Japanese performers?

Or better, Chinese and Japanese models? Cultural appropriation does not start and end with the fashion collections; it continues in the campaigns and discussion surrounding them.

We live in a globalized world that has become a mixing pot of cultures. In theory, inspiration is a possibility within the industry, and it would only make sense to celebrate our differences. Nevertheless, it is essential to recognize the intent of the inspiration and the way it was executed. As Tansy E. Hoskins explains,

Offering an investigation on why the use of cultural appropriation continues to happen and how the designers and brands do not face more criticism. In a world where diversity is becoming a more significant discussion within the fashion industry, brands do not show understanding or respect towards it.

I choose to look at the company Shein because of their latest shortcomings, proving to the appreciation fighters that cultural appropriation is not only continually happening, but why it is harmful.

CULTURAL APPROPRIATION 101 Cultural appropriation is defined as:

The act of copying or using the customs and traditions of a particular group or culture, by somebody from a more dominant (= powerful) group in society. - Oxford Dictionary Cultural appropriation is a consequence of colonialism, imperialism, assimilation, and capitalism; it is the continuation of centuries of racism and oppression which black, indigenous, and people of color (BIPOC) have faced from white people. Appropriation is an abuse of power. During colonial times, colonizers stole the land and cultural elements from the indigenous people without reimbursing them.

Parallel to the indigenous land, which got stripped off of its natural resources, their culture was treated as such. Resulting in cultural identities being ripped away, and now, looking at the oppressed cultures as free for taking. Appreciation comes from active participation in a culture; are they participating in Black Lives Matter rallies? Voicing their disgust about the detainment of Uyghur Muslims in Chinese concentration camps? Or are they enjoying wearing a feathered headband or a bindi to a festival, while not knowing where and whom they come from and represent? Appreciation can be used as an argument if one has proven themselves to be an ally at all times and not just when it suits them.

“While the fusing of cultures can…be celebrated as exchange, for the most part it is the outcome of domination…cultures of the world have not spread and merged through an organic process of cross-cultural harmony…colonialism and neo-colonialism have resulted in the supplanting and What makes cultural appropriation wrong is not harnessing of those culture they have encoun- just where it stems from, but the power structure tered.”1 it represents. It reflects and creates the identities of

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Cultural Appropriation, Shein, Cultural Misrepresentation

those involved and their socio-political positions.

Through these power relations, we end with having a “dominant” culture (one that is most visible/ accepted within a society) that can appropriate from a nondominant culture. Moreover, the power structure supporting cultural appropriation is born from the economic-, classist-, exploitative-, racist oppressions, which cultural appropriation’s history has created.

no harm, had Shein called them as they are, Islamic prayer mats, but the fact that they were being sold as decorative carpets is where it all goes south.

Prayer mats are sacred as it is the place Muslims go to when they wish to connect with God and pray.

Therefore, shoes are not to be worn on them, and they need to be handled with care and placed in a clean place, two things which are not necessarily considered with carpets. One of the many reasons why cultural appropriation is harmful is that the significance and meaning of the appropriated element SHEIN 2 tends to change and disappear once appropriated.

“Everyone can enjoy the beauty of fashion.”

What is a place of worship for Muslims becomes a Founded in October 2008, Shein has quickly become mat used for “…cats’ food and water.” (Review from 3 a one-stop-shop for fashion consumers worldwide. user L***3) .

Offering competitive and low prices; their most expensive dress costs €88.99, and their cheapest without being put on sale comes in at just €5. Despite being so popular, and seen collaborating with famous celebrities and influencers, there is a dark side. Not only are their reviews on Trustpilot down at 2.9 stars, but their low prices raise questions and concerns on the ethical side of the company; how much are the garment workers paid? How sustainable are they? Shein, along with other fast fashion e-commerce brands, is a company we need to hold accountable for their shortcomings when looking at the ethical and sustainable side of things.

At the end of June 2020, Shein released sleepwear “top and pant sets,” which are the identical twin of the South Asian Kurta. Outrage snowballed on social media with questions of why the outfits’ ethnic origin was not credited, and why a white model was chosen rather than a South Asian? Upon looking further into Shein, I found it interesting that the Indian version of their website sold Kurtas under the name “Kurta” and featured South Asian models.

Why is it then necessary to use a white model for the international site when there is clearly a range of models they could have chosen from?

3rd July, 2020 saw Shein sell decorative “Greek fret carpets,” however, they seemed to mislabel “Islamic prayer mats.” The mats featured mihrab designs, a niche in the wall of a mosque, indicating the qibla (direction) to where the Kaaba is located in Mecca.

This is the direction of which Muslims pray towards.

Their “Flower Print Tassel Trim Carpet” featured the Kaaba, the most sacred site in Islam, with the al-Haram Mosque in the background. Other tassel trim carpets depicted the Kaaba on its own and some with outlines of mosques. There would have been

SHEIN Floral print longline top & pants set

Screengrab: Nana Sharif Korsgaard

Islamic prayer mats were not the only aspect of Muslim culture to be appropriated; soon after, it was discovered that Shein was selling Allah necklaces as part of a pack. While it can be argued that Allah is just the Arabic word for God, Muslims tend to use “Allah” when speaking about God regardless which language they are speaking. Much like the prayer mats that are to be handled with care, so should Allah’s name, as Muslims, the mention of Allah cannot be brought into a bathroom; a fact that is most likely not known by those who bought this necklace pack. As with the Kurta description, the product description failed to mention the religious origin of the necklace.

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lot of feelings are attached to the swastika symbol, stemming from the horrific experience millions of Jews experience in World War II and now being associated with white Nazi supremacy. It is, however, important to remember that it originates as a symbol of divinity and spirituality in both Hinduism and Buddhism. Again, Shein falls short in their product description, as the pendants were not marked as a Hindu/Buddhist symbol. The swastika, as we know, has been appropriated by the Nazi movement, and is still being used to symbolize their ideology and actions. And so we are met with apology number two, “We made a gigantic mistake by selling a product that’s hurtful and offensive to many of you, and we’re so, so sorry.” 5 Their apology focused on the Nazi understanding of the swastika, but we must remember they appropriated a sacred symbol in the name of profit. Their apology should have spanned to the religious groups that use the swastika in practice, rather than solely focusing on the Nazi understanding of it.

Sreengrab from Instagram user @s.khadija.r of the necklace fashion pack Photo: Nana Sharif Korsgaard

While it may not be widely known, Shein is a Chinese owned company, part of the Alibaba group.

The Chinese government has, over the recent years, been in the spotlight over their ethnic cleansing of Uyghur Muslims, which includes the forced placement in concentration camps, and inhuman treatment taking place. A Chinese company stealing from a religious group which their government is trying to clean-out is the ultimate definition of cultural appropriation. Completely ignoring the suffering of this group to benefit economically shows the harmful aspect of cultural appropriation. The fact that elements were copied and not given credit also reflects the actions of the Chinese government which has been condemned by several international governments and political organizations. Following the controversy, Shein released apology number one out of two; “…We made a serious mistake recently by selling prayer mats as decorative rugs on our site. We understand this was a highly offensive oversight and are truly sorry…We also formed a product review committee with staff from different cultures and religions, so a mistake like this doesn’t happen again...” 4

Four cases within two weeks are not a coincidence.

It is proof that Shein does not have a cultural understanding of their clients, nor do they care; they are established to make a profit and exploit nondominant groups in society. Apologies are given out left and right, initiatives are built up by companies, but what does a “sorry” mean if the effort is not doing its work? If Kurtas were modeled by South Asian women and labeled as “Kurtas” on their Indian website, why could that not have been done for their international website? Why could the swastika pendant not be sold on the sites for the countries whose population uses the swastika in their religious practices? Why is a Chinese shop profiting from the identity of Muslims, which are coincidentally being stripped off their identity in China? Because we have not held brands accountable for more than a sorry excuse for an apology, we need to show brands that while mistakes happen, they need to be rectified.

THE NEXT STEPS

As consumers, we tend to forget the impact we have on companies. Brands depend on us for their success, and it is once money becomes an issue that they will start listening; this means that we must continue to speak on these appropriation incidences. As soon as we show the brand that we have forgotten about the incident, they will take it as an opSix days following the Islamic prayer mats, Swas- portunity to do it once again; and if this is the case, tika pendants were found sold on their website. A we must aim to boycott the brand while keeping

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the word out there for future customers to see and learn. For you, as a company, this means education.

First and foremost, educate yourselves on your consumers, who are they? And what would they like to see? Yes, your South Asian customers are going to appreciate your Kurtas, especially when labeled “Kurta,” but think about how they might feel when their Kurta is now a sleeping set and labeled as such? While mosques are present in Greece, when the general public thinks of the word “Greek,” are mosques and the Kaaba the first thing they think about? No? Then educate yourselves on what the word Greek means to your consumers, and act accordingly.

Cultural Appropriation is a tricky subject, and with the lack of discussion on it, it can be hard to navigate our way through it. Educating yourself on your customers and the products, you find yourself wanting to sell is essential. If you find yourself having sold an item and then get called out for cultural appropriation, listen to why and figure how you can turn this situation around. The education is a two-way street; consumers must stay educated on a brand’s mishaps and be willing to dialogue with them. Through this dialogue, we can aim to turn the cultural appropriation situation around and find ourselves on the next steps to moving into a place where a language of cultural appropriation can emerge.

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Why are we still discussing and fighting for diversity in fashion? Why is cultural appropriation still debated? If these are questions you have asked yourself before, youâ&#x20AC;&#x2122;ve come to the right place. Cultural Miss Representation is your one-stop-shop for all things regarding the racial and cultural misrepresentation in fashion; two topics regularly discussed but never given a proper conclusion or solution.

Aiming to work towards a collective solution, Cultural Miss Representation will educate you as a consumer and brand through the negative impact and larger ripple â&#x20AC;&#x153;small mistakesâ&#x20AC;? have, and why diversity and inclusion are essential. Through case studies, book reviews, guest editors, and much more, Cultural Miss Representation hopes to widen your view on misrepresentation in fashion.

Written in a language accessible and engaging for all, Cultural Miss Representation wants to reach out to everyone and anyone, having discussions relevant for all. If Diet Prada was a 20-something-year-old-woman, who focussed solely on the exploitation of minorities and their cultural heritage, it would be this.

culturalmissrepresentation https://culturalmissrepresentation.wordpress.com

Depiction of a model at the Jacquemus show in Vexin Regional National Park Collage made by: Julia Wargarden

Jacquemus, Runway, PFW & New leaf

JACQUEMUS SPRING 2021PARIS FASHION WEEK

By Julia Wargarden

In the midst of a harrowing pandemic, which has undoubtedly changed the industry forever, Jacquemus’ latest show at Paris Fashion Week this year, was a romantic dream of farouche little girls and boys picking up their brushes and painting Monet-like scenes on the blank canvas that Covid-19 has left us with. From the get-go, we were offered billowing loose peasant tops, slim linen dresses and simple oversized shirts embroidered with pieces of leaves and seedlings, as if to remind us that no matter what may come, nature is ever-present, still growing and thriving, while we have been forced to get out of its hair for a few months.

The entire collection was a parade of moonfaced nymphs and fauns sauntering down the runway, while the barley swayed from side to side and framed them like an impressionistic painting. Gentle shades of white, beige, green, tangerine and blue rained down the runway in a soothing display of minimalistic naturalism. A few prints here and there with naively drawn seedlings complimented the somewhat puerile and airy feel that each look conveyed. A brief array of checkered shirts that looked like up-cycled vintage tablecloths were a clever addition; giving a subtle but stinging castigation to the disposable fast fashion culture, as recycled and vintage clothes have seen a stratospheric rise in popularity the last few years. We are beginning to change how we view the entire concept of used clothing. Just a few years ago it was fine to own a couple of mint condition vintage Chanel bags or perhaps a few beautiful dresses from your mother’s old closet, but it was still considered odd and even a little gross to go shopping for everyday items in a second hand store. Now it is slowly becoming mainstream, a way for politically and environmentally conscious young people to rebel against sweatshops and factories that are exploiting workers and depleting the earth of its natural resources. Our priorities are shifting and why shouldn’t they? Why is it that we attribute historic and aesthetic value to certain things while we ignore them in others?

When buying an apartment, we don’t say “Oh gross, it’s been used for over 300 years! I want it brand new!,” so why do we do it when it comes to clothing? A popular brand like Jacquemus drawing inspiration from retro fabrics is a clear indication of where fashion is headed, namely to a more sustainable and re-usable future.

When stronger colours like black were presented, they too were toned down and tranquil, like dried flowers inside a scrapbook. The accessories, as always, were eclectic and innovative. Oversized and earrings and bags made of unorthodox materials peppered the atmosphere with a quirky youthful energy. It is a collection that transcends the ephemeral nature of the fashion industry, and gives way to an entirely new perspective: one that forebodes romantic minimalism, beautiful fabrics that last forever and a permeating sense of…kindness? It is as if we are resetting the world with light and comfy clothes whose tactile gentleness reflects the compassion we have shown each other during these last few months of hell on earth. Although fashion has always been shaped by current events (think of how hemlines and fabrics changed as a result of war), it has mainly been about trends, never about a complete transformation of the industry like the one we are seeing now. People are fed up with watching the world fall apart due to pandemics and natural disasters brought on by global warming, while the industry stands back unaffected like an ignorant titan of gilded excess and callousness. We want designers and brands to become involved and they are finally responding. While many high fashion brands remain capitalist giants of luxury and unattainability, they are now recognising (and fearing) the fact that their future depends on an outward display of likability. They have to use kindness as a business strategy if they want to survive in this age of social media-fuelled cancel culture and a world that wants to hold every one of us accountable. Simply put, it has become fashionable to care.

So in the spirit of Fashion 2.0, we have been given a careful breath of fresh air that refreshes us even if we are still wearing face masks that make it a little bit harder to breathe (keep wearing them, though). Jacquemus has provided the world with a visual ode to optimism in the time of Corona, telling us that we need the energy and the strength of conscious youth to rebuild our torn and tattered little world. Though it may have seemed utopian (if not frivolous) at times, this collection was a much-needed earthy reassurance that things will be alright again.

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A DRAG EXPERIENCE By: Izabella Andersen

Bob the Drag Queen Graphic by: Emilie Thomsen

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Drag Queens, Drag & Identity, Gender, Gender Rights, Equality

The personal intentions associated with doing drag may be much more varied than we think. It is far from just creating a convincing illusion of a woman or using humor and performing parodies.1 What does dressing up in drag contribute to concerning identity? Is drag an integrated part of who they are, or an addition to their persona?

son, in and out of drag, which she describes as loud, political and social. Drag contributes with the help of unlocking her ferocity and is described as magical and powerful.6 Her view upon whether drag is a political art form or not is clear:

”Well, drag is political in and of itself. Drag can’t be apolitical, just because it is a slap in the face of heteronormative behavior and not only that, but a smack in the face. It is counterculture. Drag THE DEFINITION OF “DRAG” The word drag (D.R.A.G) is an acronym for ”dressed is counterculture. Counterculture is in itself activresembling a girl” according to the dictionary from ism” - (Queen, 2016). fandom RuPaul’s drag race site. A drag queen is: ”a man who dresses as or impersonates a woman for JOHN JACOB entertainment and show purposes”.2 The term ”drag” John Jacob is another drag queen, who wrote a peroriginated from the theatre world already in the sonal narrative called “A Drag Experience: Locating 17th century. Before women were even allowed to Fantasy in The Construction of Alternative Gendered perform and take part in producing in theatres, men Appearances” on how he thinks drag contributes to had to play all female characters. The word “drag” his identity.7 supposedly described the action of long dresses that dragged on the stage floor.3 The following two “I define alternative gender identity as one that drag queens are examples of drag queens that have does not conform, and I some ways challenges different approaches of doing drag. Although their traditional heterosexually defined gender roles execution and silhouettes are different, however, for men and women respectively. The specific althey also agree on some of the aspects and how it ternative gender identity that I will discuss is the strengthens and contributes to their identities. one that I have created in response to the contradiction of gay male experience in a heterosexual male-dominated society” - Kimberly A. MillBOB THE DRAG QUEEN Bob the Drag Queen is an actor, stand-up comedian er-Spillman and one of the most in- demand drag queens in the USA.4 She is also the winner of RuPaul’s Drag Race He understands both appearance and identity as season 8. She talks about how there were times in personal creations. There are many ways in which her life, when she felt she did not know what to do gay male identity makes room for gendered apand felt really depressed. She often thought, “What’s pearances. Jacob enhances the difference between the words sex and gender. The meaning of sex rethe purpose in life?” fers to biological distinctions between male and fe”The drag in a way is a slight distraction, it’s not male, whereupon gender refers to socially created really about the drag. It’s more so about the con- and learned differences between male and female. nection we have with each other and the drag Studies reveal that peoples view upon gender is just gives us an opportunity to take our minds off composed by the assumptions and expectations things. Oddly enough you can be more human people learn growing up.8 For instance: “it is acceptand more real in drag. By putting on all this armor, able for women to wear dresses, but usually not for you actually let your guard down, that’s the ironic men”. The male body is laden with social expectations for appearance that establish it as something thing.” - Queen, 2020 different from the female body and feminine apBob talks about how she stumbled across RuPaul’s pearance. It is kind of a cultural lens people use to drag race on TV, and wanted to give it a try and was identify others – and when a vision or appearance really taken in by the culture behind it all.5 She actu- does not fit with the image we have via our cultural ally did not do drag before participating in the real- lenses, some people will find it more or less disturbity show, not even when she did stand up comedy ing. When one sees a man that does not look like a on stage. There have been lots of other queens who man is “supposed to”, his whole identity comes into helped her create Bob the Drag Queen, but she did question. Questions such as “is he a man, or is he not have one drag mom. She remains the same per- gay?” emerge. Jacob often uses the word “fantasy”.

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Jacob describes that when a person’s appearance disrupt another person’s fantasy, people tend to question the other person’s authenticity, as if the person was not real.9 If men challenge gender rules, Jacob describes how some men might be discounted, dismissed, or worse. In such cases, some people reveal how their fantasy is more important than valuing their own ability to perceive, and appreciate others’ human experience. Jacob is convinced that doing drag can occur without necessarily trying to look like a “real” woman.10 At first his intention to use drag was as a form of rebellion against the strict gender rules for men that society ‘allowed’. It was important to him, because he first came out as gay at the age of 28. He wants to do drag that disrupt the mainstream gender fantasy, and as mentioned, he does not think that all kind of drag should achieve to look like a real woman. He creates appearances that are neither completely male nor completely female, with the purpose of people wanting to stop, look and question his appearance.11

the feeling of living a fantasy. Either way, they are both tired of the norms, and fights for the personal freedom to appear in public with their own true form of visual identity. There is no doubt according to both, that drag is a political matter, whether we want it to be or not. Their drag is a critique of society’s power structures and unwritten rules of how you should appear according to gender- norms. As Butler says, gender becomes something only in the practice of gendering, and why should we all not be free to practice our own exact perception of gender?

The fact that some people are still not ‘allowed’ to fit into society because of the way they want to create their identity is a difficult thing to understand. Still there are notable differences between how Bob the drag Queen and John Jacobs approach to the practice of drag. First of all, Jacob does not once mention a drag name. Bob the Drag Queen, whose real name is Christopher Caldwell, came up with “Bob the Drag Queen”, because no one remembered her first drag name. Then she made it as simple as possible, and thought it was funny to combine a short and simple “I suppose this appearance is most disturbing ‘masculine’ name, with her feminine appearance. because it is the most ambiguous. There are not Maybe it is since that Jacob neither mentions any enough visual cues to encourage the viewer to kinds of drag shows or him performing at drag balls perceive me either more on the side of masculine, or nightclubs that he did not create a drag name. or more on the side of feminine (...) people seem more comfortable when ambiguity is minimized, Bob has a very strong and “out-there” approach to especially when it comes to gender and sexual ori- creating awareness of the issues in the norms of entation” - Kimberly A. Miller-Spillman society. She sees drag as political in and of itself.12 According to Bob, drag cannot be apolitical. Some Jacob explains how it is precisely in this grey area of the work Bob has done includes fundraising inbetween male and female, that he feels the most itiatives (Charity for the People), with focus on four potential to create himself. It offers the opportuni- areas: queer youth, elderly queer, HIV/AIDS and canty to exercise personal freedom, control over the cer, and battered women in women’s shelters. By body, the appearance and identity, instead of doing performing, Bob raises money and donates them to exactly what society proposes. different causes.13 Jacob has a more silent approach, but kind of makes his own protest by putting on drag, and observing people’s reactions as a kind of BOB THE DRAG QUEEN & scientific work. When he notices a strong reaction JOHN JACOB Neither of the drag queens had a ‘drag mother’ they from people on the streets, he tends to go even furturned to when they first started doing drag. For ther with the kind of drag that he notices people both Bob the Drag Queen and John Jacobs, it was get the most disturbed by. Jacob emphasizes that a question of self-realization that kick-started their the purpose of drag varies in nightclub settings, drag and development of identity through wearing from encouraging humor to creating a convincing exactly what they want to, without the strict norms illusion of womanhood. Yet also the personal intenabout gender from society. It was also the dream tions associated with drag varies. He thinks it is imabout change and finding the will and courage to portant to notice, that not all men who do drag are gay, and some choose to do drag in private as well. do so.

Some men have a rather “feminine” side that drag Bob feels like she can be more real and more human allows them to express, for example if they enjoy in drag, even though she puts on a different silhou- the sensuality of women’s clothing and underwear, ette and feminine appearance. Jacob feels like he because of the fact that it feels differently against lives in a grey area zone, that makes him creative and the body than men’s clothing, maybe even more

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comfortable and sensual.14 Jacob does not wish to appear like a real woman when he does drag, but he definitely thinks that dress is an activity, which occurs on the body, while it tells a story about the one who wears it, plus the connection between the mind, the body and the self. The stories of Bob the Drag Queen and John Jacobs tells us that there are many ways to do drag. Not just in public, or in pop culture. It is the desire for freedom, to express oneself in public, without the judgments of society, and there is no wrong way of practicing.

Although Bob the Drag Queen and John Jacob have their differences and different ways of using drag, there seems to be a common denominator for them: the desire to find a belief, seek to get close to their real identity, and the desire not to live up to norms imposed on their gender by society. Thus, Drag and the communities that belong to it can unfold in this way in fellowship with others, and the development indicates that there will be more forums and more openness about drag and the positive effects it has.

Drag is political and confronts society with all that is wrong with current norms. And drag will always be a political statement and reminder of how long there has been fought for the queer communityâ&#x20AC;&#x2122;s rights. It is heading in the right direction, but still with a long way to go. Society has a certain way and conception of what kind of dress that belongs to being either male or female. It seems like drag queens use visual expression to claim their right to appear as they please. With the fact that they are aware of a certain risk when stepping out in public in their drag, they still feel closer to themselves and more in touch with their true identity. Feeling fabulous and showing it to the world while performing gender with their own perception may seems confident and well put together, but underneath the surface for people like Bob the Drag Queen and John Jacob, lurks a story of struggle, survival and resistance.

Copenhagen fashionweek 2020 Photo: Kat Sark

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MEN AND DRESSES: A FASHION PARADOX By: Ida Fisker-Clausen Why do we not see men wearing dresses when women wear pants? The clothing we put on our bodies every day is supposed to be a way of self-expression and individuality, yet it is still looked down upon if a man wears a dress?! Are we bound by norms within our culture to dress in a certain way according to the sex we have and gender we portray, or is it possible to be fluid in our approach to this?

er dress is only for home or athletic use, as men are still shocked at what women should use them for as they are objects for men, and should not attack the status or authority he has according to the social order. However, women were at this point, wearing pants in other parts of the world2, which emphasizes the discourse with strong masculinity within the western world and its fashion system at this early point in time.

THE BLOOMER DRESS

STRONG MEN AND SILLY WOMEN?

In the late nineteenth and beginning of the twentieth century in Europe and North America, it was unacceptable for women to wear pants; women were at this point not considered to have the same position in society as men and wearing pants would be a step towards blurring the clear difference between the sexes. The Bloomer dress, which is a dress with pants underneath, is one of the first signs of non-verbal resistance in the Western world against the norms of society and the fashion system; the opinion on femininity and the clothing women wore at this time was woven into the system and difficult to change. The women who did resist the socially acceptable way of dressing had a great risk of being attacked. When marrying, a woman would become a “possession” for her husband. At this time, femininity is considered weak next to the masculine authority, and the dress, corsets, etc. are a way for men to keep women in their position at home. The women wearing these impractical clothing become living dolls; this is an early sign of the fashion system’s norms which control the social order and class division. The Dress Reformers and the Bloomer dress influence upper-class women in the West; however, as the American sociologist, Thorstein Veblen, also expressed that it is only the upper classes who have the means financially and terms of status to resist the norms and wear the Bloomer dress.1 The Bloom-

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The German philosopher, Georg Simmel, is quoted saying: “I prefer it when the auditorium is as colourless and indifferent as possible. The dual form of appearance and the bright colour disturbs me.”3 Here he refers to feminine garments versus masculine garments, whose colours and shapes, according to Simmel, one must obtain greater concentration and therefore enable greater distinction; concluding that men must be smarter than women. Could this still be woven into the way men look at garments today? Although it is an extremely narrow-minded view on females, colours, and clothing, this is connected to the idea of a woman being an object for the man; a bright, highly decorated, silly thing to look at. Society at this time has constructed the men’s job to be about providing for the family and therefore, they have to be clever and wear sensible clothing for work; colours, tight, and immobile garments will work against this purpose. This point supports Simmel’s view on bright female clothing, which gives a view into the thinking of a white, upper-class European man at this time. Yet today, the female population has better rights, can vote, is head of state, and so on – should the view on feminine clothes not also move with this? This stresses that it is not something time will transform; the diversion of the sexes, male vs. female clothing, views on gender, racism and sexuality are all woven into

Gender, Clothing Norms, The Fashion Industry

the structure of our society, and thus also the fash- clothing instead of wearing what we like. The Amerion industry. We need to resist the system to invoke ican anthropologist, Marshall Sahlins, has expressed change within it. that the objects we buy have a gender identity themselves. Feminine objects such as dresses and THE FASHION INDUSTRY’S ‘BOXING’ make-up are marked for female use only, while masculine objects are unmarked and thereby may be SYSTEM 6 The idea of the woman as a doll changes a lot used by everyone. This is one of the reasons why throughout the twentieth century, and today, wom- we do not see more men wearing dresses or skirts. en wear almost everything from the category of The capitalist system of the fashion industry is very male clothing; so why not the other way around? interested in keeping us and our habits within its Women wear masculine clothing items because grasp in order to control the outcome. If everyone the industry has made it fashionable for women can use all products, how would the industry manto do so as women’s rights become better through age the consumption and know how to promote resistance; they start to gain power over their lives products for segments, if it includes all beings? By and make their own money – to buy more prod- marking female products, this enables the norms of ucts within the system. The fashion industry has a gender and the circular consuming system to conbig part to play in the matter of what we wear; it tinue without impact. By evoking change within dictates what, when, and why we wear the things the marked/unmarked product system and making we buy. “Fashion is the child of capitalism” is how the categories of clothing, and products in general Given Wilson has described the fashion industry.4 It more fluent, this will change how we view humans, is a system whose task is to keep us in it for it to run bodies, our consumption etc. No clothing item continuously ; if resistance happens from the con- would be off-limits to us; we could wear whatever sumer’s point of view, the fashion system slightly we want without judgement. adapts to survive. It works as a way of keeping the consumers consuming without questioning what, THE SOCIAL ASPECT So, how can we evoke change to the view of genwhy, and how. der in a system of structural norms and rules for The German philosopher, Karl Marx, comments that how we should do things? The American philosothe capitalist system of the fashion industry’s goal pher, Judith Butler, defines sex as something we are is to produce goods in order for us to buy more and born with and gender as something we create and, exploit its workers.5 Therefore, a way to maintain in- in her opinion, gender is always doing and changequality within society is by persevering the diver- ing.7 We construct our gender through social intersion and keep consumers in their boxes. The industry action with others and become a product of the works against people’s ability to resist because they system we live in, in terms of our gender and the want to keep us and retain money flowing within way we dress. To evoke change in the fashion systhe system. This is evident in the way we talk about tem, we are, according to Butler’s definition, a part fashion; we box clothing by saying male and female of the system when creating our gender – there-

Western, upper-class man and woman dressing according to the social norms, 1900th century - used with permission

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Being true to ourselves and wearing what feels real is a direct threat to the fashion system and its grasp on its consumers. Not being one fixed thing, defined by gender or pronoun challenges the culture and traditions, and unless we reform it, there will be continuous resistance against people who explore their gender fluently through the clothes they wear.

Madison Moore’s theory of fabulousness11 is a showdown with the notions of male and female’, and what is right and wrong in terms of being one set gender. To embody fabulousness is much more than

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We should all care about evoking change within the fashion system as we all live with these limiting, underlying rules, and we are, as the consumers of them, the only ones who can make the change – the fashion industry is not going to do it for us.

Fashion should be a self-expression of our identity regardless of one’s sex, gender, sexuality, race, geography, political beliefs etc.; be playful and authentic to yourself without limitations as this will challenge the current status quo!

Used with permission from Allan França @allanfranca.photography

IS INDIVIDUALITY A THREAT?

glittery things and wild fabrics, it is about not trying to fit into society’s boxes and make one’s own space outside what is considered socially acceptable. The LGBTQIA2S+ community is constantly reminded that they do not fit in and thereby fabulousness can also become a political statement as Moore stresses: “Our world constantly reminds me that I should not exist, so I dress the way I do to scream that I am here.” 12 The fashion system judges us if we fit in to make us buy more, and if we stand out, it wants us to conform to its normative set of rules. By resisting in the form of fabulousness, the limits of gender and clothing norms are blurred, and it is a way to eliminate homophobia, racism, toxic masculinity, etc. we have structurally within our society.

Fabulousness

fore, we can also evoke change. So, how do we push the boundaries in terms of men and dresses? Butler also points out the concepts of gender performance and gender performativity.8 Performativity meaning unconsciously portraying and being consistent with the gender we act, e.g. a man wearing socially allowed male clothing within the discourse.

This term has the issue of being maintained within the system and therefore, very difficult to evoke changes concerning how to dress, as we maintain the gender we act without alterations. Performance is doing one’s gender as something which can not be fixed or categorized. One day you dress as a man, the next as a woman or combine garments from both categories and hereby blurring the societal division; also known as gender fuck.9 This term is a playful approach to gender in order to break the norms within our society. It has nothing to do with one’s sex or sexuality and is not about being one set thing but to portray one’s true identity. Gender fuck challenges the socially accepted view on gender as only being he or she, according to our pronouns, and leading individuality for humans free from the normative way of portraying oneself in terms of clothing. How we talk about human beings is insufficient, and in 2012 Sweden is first movers on this as they register the neutral pronoun hen. In the English language they/’them, which can be used for people who define themselves as non-binary, has masculine connotations whereas hen is neutral.10 With this addition of hen to our everyday life, it will mean stepping away from a language that embraces codes for masculinity and femininity. We live in the twenty-first century, and by registering the pronoun hen makes a big difference in terms of breaking the norms, prejudices, and discourse around gender and the categorizes of male clothing and female clothing within the fashion system; this will be a step towards changing the norms regarding men and dresses.

59 of 64 Fabulousness

Used with permission from Allan Franรงa @allanfranca.photography

REWIRING THE SYSTEM & A RECODING OF THE CONSUMER’S MINDSET 1 - The Business of Fashion & McKinsey Company . (2019). The State of Fashion 2020. The Business of Fashion & McKinsey Company. | 2 -Sullivan, A. (2016). Karl Marx - Fashion and Capitalism. In A. S. Agnès Rocamora, Thinking Trough Fashion - A Guide to Key Theorists (pp. 28-45). London: I.B. Tauris. | 3 -Sullivan, A. (2016). Karl Marx - Fashion and Capitalism. In A. S. Agnès Rocamora, Thinking Trough Fashion - A Guide to Key Theorists (pp. 28-45). London: I.B. Tauris. | 4 - Ponte, S. (2019, 12 13). CBS-professor: ‘Grøn kapitalisme’ er ikke nok. Retrieved 05 2020, from Videnskab.dk: https://bit.ly/2C4Bsmi | 5 - Polman, P., & Rothschild, L. F. (2014, 05 28). Kapitalismen truer kapitalismen. Retrieved 05 2020, from Information: https://bit.ly/2MUOrcn | 6 - World Commis-

sion on Environment and Development & United Nations. (1987). Report of the World Commission on Environment and Development: Our Common Future. | 7 - Kemp, P. (2013). Bæredygtighedens utopi. In Verdensborgeren som pædagogisk ideal - Pædagogisk filosofi for det 21. århundrede. København: Hans Reitzels Forlag. | 8 - Epp, E. (2019, 04 24). Why Transparency in Fashion Matters. Retrieved 05 2020, from International Institute for Sustainable Development: https://bit.ly/2YurJNB | 9 - Dressed: The History of Fashion. (2019, 11 20). Dressed: The History of Fashion - Fashionopolis, an interview wtih Dana Thomas. Retrieved 06 2020, from Podcast Addict: https://bit.ly/3hB5xu7 | 10 - Epp, E. (2019, 04 24). Why Transparency in Fashion Matters. Retrieved 05 2020, from International Institute for Sustainable Development: https://bit.ly/2YurJNB | 11 - Fashion Revolution. (2017). FAQs: Fashion Transparency Index 2017. Retrieved 05 2020, from Fashion Revolution: https://bit.ly/3hgUEgC | 12 - Fashion Revolution.

(2017). FAQs: Fashion Transparency Index 2017. Retrieved 05 2020, from Fashion Revolution: https://bit.ly/3hgUEgC | 13 - The Business of Fashion & McKinsey Company . (2019). The State of Fashion 2020. The Business of Fashion & McKinsey Company. | 14 - The Business of Fashion & McKinsey Company . (2019). The State of Fashion 2020. The Business of Fashion & McKinsey Company. | 15 - Barenblat, A., Madera, K., & Grasso, C. (2020, 03 24). We Demand an Emergency COVID-19 Relief Fund for Garment Makers. Retrieved 05 2020, from Remake: https://bit.ly/3flCUio | 16 - Fashion Revolution Denmark. (2020, 05). Covid-19 pandemien rammer dem, som laver vores tøj hårdest! Retrieved 05 2020, from Fashion Revolution: https://bit.ly/2UFH4tK | 17 - Fashion Revolution Denmark. (2020, 05). Covid-19 pandemien rammer dem, som laver vores tøj hårdest! Retrieved 05 2020, from Fashion Revolution: https://bit.ly/2UFH4tK | 18 - Ponte, S. (2019, 12 13). CBS-professor: ‘Grøn kapitalisme’ er ikke nok. Retrieved 05 2020, from Videnskab.dk: https://bit.ly/2C4Bsmi | 19 - Ilchi, L. (2020, 04 06). #PayUp Petition Calls for Major Fashion Companies to Pay Garment Factories. Retrieved 06 2020, from WWD: https://bit.ly/3d5ULrX | 20 - Remake.world. (ud.). Gap, Primark, C&A #PayUp for orders, save lives. Retrieved 06 2020, from Change.org: https://bit.ly/3cZshjS | 21 - Fashion Revolution Denmark. (2020, 05).

Covid-19 pandemien rammer dem, som laver vores tøj hårdest! Retrieved 05 2020, from Fashion Revolution: https://bit.ly/2UFH4tK | 17 - Fashion Revolution Denmark. (2020, 05). Covid-19 pandemien rammer dem, som laver vores tøj hårdest! Retrieved 05 2020, from Fashion Revolution: https://bit.ly/2UFH4tK | 22 - The Business of Fashion & McKinsey Company . (2019). The State of Fashion 2020. The Business of Fashion & McKinsey Company. | 23 - Ilchi, L. (2020, 04 06). #PayUp Petition Calls for Major Fashion Companies to Pay Garment Factories. Retrieved 06 2020, from WWD: https://bit.ly/3d5ULrX | 24 - Danziger, P. N. (2020, 05 10).

Coronavirus Will Force Fashion To A Sustainable Future. Retrieved 06 2020, from Forbs: https://bit.ly/3e2UGXy | 25 - Danziger, P. N. (2020, 05 10). Coronavirus Will Force Fashion To A Sustainable Future. Retrieved 06 2020, from Forbs: https://bit.ly/3e2UGXy | 26 - Edelkoort, L. (2020, 03 27). Special Edition: Li Edelkoort Says the Coronavirus Is a Representation of our Conscience. (I. Amed, Interviewer). | 27 - Amed, I., Balchandani, A., Berg, A., Hedrich, S., Jensen, J. E., & Rölkens, F. (2020, 04 07). It’s time to rewire the fashion system: State of Fashion coronavirus update. Retrieved 04 2020, from McKinsey & Company: https://mck.co/37r7Ta8 | 28 - The Business of Fashion & McKinsey Company . (2019). The State of Fashion 2020. The Business of Fashion & McKinsey Company. | 29 - McIntosh, S. (2020, 04 30). Coronavirus: Why the fashion industry faces an ‘existential crisis’. Retrieved 06 2020, from BBC: https://bbc.in/2MSNGk3 |

AN ACADEMICS TAKE ON COPENHAGEN FASHION WEEK 2020 1 - Copenhagen Fashion week. (u.d). Located 18.08.2020, from https://bit.ly/3keOL49 | 2 - World Health Organisation. (u.d). Located 18.08.2020, from https://bit.ly/33p3Nh2 | 3 - Ferere, Cassell. (6. Aug, 2020). Copenhagen Fashion Week CEO Cecilie Thorsmark Is Requiring Sustainability For The Scandinavian Haven And Here Is Why. Located 06.09.2020, from https://bit.ly/2FjIeGU | 4 - Bateman, Kristen. (4. Feb 2020). How Copenhagen Became the Coolest — Most Sustainable — Fashion Week. Located 06.09.2020, from https://bit.ly/3hvDU44 | FALSE DIVERSITY AND INCLUSIVITY IN FASHION MEDIA 1 - Jones, B. (2017). Model Diversity in Fashion Advertising: The Influence of Self-Model Congruity on Body Appreciation. Minnesota: ProQuest, p. 59 | 2 - Horne, Christine. (11. Jan, 2018). “Norms”. Located 09.01.2020, from https://bit.ly/35MNihR | 3 - (Twigg, J. (2013). Fashion and age. London: Bloomsbury pp 112-113 | 4 - https://www.instagram.com/kiannanaomi/ | 5 - Entwistle,

Joanne. Wissinger, Elizabeth. (2006). Keeping up appearances: aesthetic labour in the fashion modelling industries of London and New York. The Sociological Review, p. 775-776)| 6 - Jones, B. (2017). Model Diversity in Fashion Advertising: The Influence of Self-Model Congruity on Body Appreciation. Minnesota: ProQuest, p. 23 | 7 - Bernard, Malcolm. (2014). Fashion, clothes and the body. Fashion Theory an introduction. New York. Routledge., p. 12 | 8 - Jin, S. Venus. Muqaddam, Aziz. Ryu, Ehri. (2018).

Instafamous and social media influencer marketing. Emerald Insight. Vol. 37. (nr. 5), p. 568) | 9 - Ranga, M., & Sharma, D. (2014).

Influencer marketing - a marketing tool in the age of social media. Abhinav International Monthly Refereed Journal of Research in Management & Technology - Vol. 3, issue 8, 16-21, p. 17 | 10 - Jin, S. Venus. Muqaddam, Aziz. Ryu, Ehri. (2018). Instafamous and social media influencer marketing. Emerald Insight. Vol. 37. (nr. 5). | 11 - Ranga, M., & Sharma, D. (2014). Influencer market-

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ing - a marketing tool in the age of social media. Abhinav International Monthly Refereed Journal of Research in Management & Technology - Vol. 3, issue 8, 16-21., p. 19) | 12 - Rocamora, Agnès. Semlik, Anneke. (2016). Pierre Bourdieu Field of Fashion.

Agnès Rocamora. Thinking through Fashion. London and New York. I.B.Tauris & Co. Ltd., p. 234 | 13 - Easterby-Smith, M., Thorpe, R., & Jackson, P. (2008). The philosophy of management research. In M. Easterby-Smith, R. Thorpe, & P. Jackson, Management research (pp. 55-79). London: SAGE Publications Ltd., pp. 58-59 | 14 - Easterby-Smith, M., Thorpe, R., & Jackson, P. (2008). The philosophy of management research. In M. Easterby-Smith, R. Thorpe, & P. Jackson, Management research (pp. 55-79). London: SAGE Publications Ltd., pp. 58-59) |

TRANSPARENCY INDEXES: NOW 1 - Shen, B. (2014, September 11). Sustainable Fashion Supply Chain: Lessons from H&M. Sustainability — Open Access Journal, pp. 6236-6249. | 2 - Fashion Revolution. (2020). Fashion Transparency Index 2020. Retrieved from Fashion Revolution: https:// www.fashionrevolution.org/about/transparency/ | 3 - Klein, N. (2000). A Tale of Three Logos - The Swoosh, the Shell and the Arches. In No Logo (pp. 365-). London: Flamingo. | 4 - McCracken, G. (2005). Meaning-Management: An Anthropological Approach to the Creation of Value. In Culture and Consumption II (pp. 175-191). Bloomington: Indiana University Press. | 5 - Mc-

Cracken, G. (2005). Meaning-Management: An Anthropological Approach to the Creation of Value. In Culture and Consumption II (pp. 175-191). Bloomington: Indiana University Press. | 6 - Hoskins, T. E. (2014). Stitching It. In Stitched Up (pp. 68-88). London: Pluto Press LLC. | 7 - Hoskins, T. E. (2014). Stitching It. In Stitched Up (pp. 68-88). London: Pluto Press LLC. | 8 - Fashion Revolution.

(2020). Fashion Transparency Index 2020. Retrieved from Fashion Revolution: https://www.fashionrevolution.org/about/transparency/ | 9 - Carty, V. (2001). The Internet and grassroots politcs: Nike, the athletic apparel industry and the anti-sweatshop campaign. Tamara : Journal of Critical Postmodern Organization Science, 1(2), pp. 34-47. | 10 - Frederiksen, L. C., & Engell, C. (2017, oktober 16). H&M: Derfor blev bukserne brændt. Tv2 News. Retrieved from https://nyheder.tv2.dk/samfund/2017-10-16hm-derfor-blev-bukserne-braendt | 11 - Hoskins, T. E. (2014). Stitching It. In Stitched Up (pp. 68-88). London: Pluto Press LLC. | 12 - (2019). H&M Group Sustainability Performance Report 2019. H&M Group. Retrieved from HM Group: https://sustainabilityreport.hmgroup.com/# |

MASKS AT CPH FASHION WEEK 2020 1 - World Health Organisation. When and how to use masks. (n.d.). Retrieved September 07, 2020, from https://bit. ly/3h6idYg | 2 - Centre for disease control and prevention. How to Select, Wear, and Clean Your Mask. (n.d.). Retrieved September 07, 2020, from https://bit.ly/2R7q9Oq | 3 - Journal Research Review of Fabric Masks, Best ... - YouTube. (n.d.).

Retrieved September 7, 2020, from https://bit.ly/35g1j7i | 4 - World Health Organisation. Q&A: Masks and COVID-19. (n.d.). Retrieved September 07, 2020, from https://bit.ly/3ibMBSh | 5 - World Health Organisation. Advice on the use of masks in the community, during home care and in healthcare settings in the context of the novel coronavirus (COVID-19) outbreak. (n.d.). Retrieved September 07, 2020, from https://bit.ly/3bCWJkw | 6 - Abhiteja Konda, Abhinav Prakash, Gregory A. Moss, Michael Schmoldt, Gregory D. Grant, and Supratik Guha. Aerosol Filtration Efficiency of Common Fabrics Used in Respiratory Cloth Masks. (n.d.). Retrieved September 03, 2020, from https://bit.ly/3hdvqyo | 7 - Mueller, A., Eden, M., Oakes, J., Bellini, C., & Fernandez, L. (2020, July 09). Quantitative Method for Comparative Assessment of Particle Removal Efficiency of Fabric Masks as Alternatives to Standard Surgical Masks for PPE. Retrieved September 07, 2020, from https://bit.ly/2ZhBUGq | 8 - UnityPoint. Sewing Surgical Masks. (n.d.). Retrieved September 07, 2020, from https://bit.ly/2R3LQ1M | 9 - Centre for disease control and prevention. COVID-19: Considerations for Wearing Masks. (n.d.). Retrieved September 07, 2020, from https://bit.ly/2GIeNyt | 10 - Mueller, A., Eden, M., Oakes, J., Bellini, C., & Fernandez, L. (2020, July 09). Quantitative Method for Comparative Assessment of Particle Removal Efficiency of Fabric Masks as Alternatives to Standard Surgical Masks for PPE. Retrieved September 07, 2020, from https://bit.ly/35dslMC | 11 - Knight, K. (2011, June 29). Lobster 101: Where the rubber hits the road. Retrieved September 07, 2020, from https://bit.ly/3ifiJ7y | 12 -Silicone.co.uk. Melting Point of Silicone Rubber. (2019, January 16). Retrieved September 07, 2020, from https://bit.ly/2F1JHkZ | 13 - HalyardFabricDustTests. (n.d.). Retrieved September 07, 2020, from https://bit.ly/32bIzDT | 14 - Pleat Original - Black. (n.d.). Retrieved September 07, 2020, from https://bit.ly/3jY3JeP | 15 - Hollowc2. (2020, June 22). Do Fashion Face Masks Actually Protect Against Coronavirus?

Retrieved September 07, 2020, from https://cle.clinic/32cZp5A | 16 - Hollowc2. (2020, June 22). Do Fashion Face Masks Actually Protect Against Coronavirus? Retrieved September 07, 2020, from https://cle.clinic/2ZheWiA FOURTH TIME’S THE CHARM 1 - Hoskins, T. E. (2014). Stitched Up: The Anti-Capitalist Book of Fashion (p. 138). Halifax: Pluto Press. | 2 - Shein, (n.d.). About Us | SHEIN EUR. Retrieved from Shein: https://eur.shein.com/About-US-a-117.html | 3 - Khadija Rizvi [@s.khadija.r]. (2020, July 3).

Picture Series of Prayer Mats and Reviews. Retrieved from: https://www.instagram.com/p/CCLS9-4lC85/?utm_source=ig_embed | 4 - Shein [@Sheinofficial]. (2020, July 5). To our community. We’re sorry. Retrieved from: https://www.instagram.com/p/ CCRK5UPHgY0/?utm_source=ig_embed | 5 - Shein [@Sheinofficial]. (2020, July 10). To everyone we’ve offended, we’re really sorry.... Retrieved from: https://www.instagram.com/p/CCdeneDnT0f/?utm_source=ig_embed |

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A DRAG EXPERIENCE 1 - Kimberly A. Miller-Spillman, A. R.-H. (2012). The Meaning of Dress. New York: Bloomsbury Publishing. | 2 - Allure. (2018, Feb-

ruary 8). “RuPaul’s Drag Race” Cast Explains The History of Drag Culture | Allure. (Allure, Producer, & Allure) Retrieved June 11, 2020 from youtube.com: https://www.youtube.com/watch?v=MHlE3RIkRi0 | 3 - Allure. (2018, February 8). “RuPaul’s Drag Race” Cast Explains The History of Drag Culture | Allure. (Allure, Producer, & Allure) Retrieved June 11, 2020 from youtube.com: https:// www.youtube.com/watch?v=MHlE3RIkRi0 | 4 - Queen, B. t. (2020, April 30). Exclusive Interview: star of HBO’s We’re Here & Drag Race superstar Bob the Drag Queen “being queer is the best thing that’s ever happened to me”. (J. Kleinmann, Interviewer) The Queer Review. | 5 - Queen, B. t. (2020, April 30). Exclusive Interview: star of HBO’s We’re Here & Drag Race superstar Bob the Drag Queen “being queer is the best thing that’s ever happened to me”. (J. Kleinmann, Interviewer) The Queer Review. | 6 - Queen, B. t.

(2016, May 17). Bob the Drag Queen On Winning RuPaul’s Drag Race, Self-Confidence, and Leading ‘Purse First’. (E. A. Jung, Interviewer) | 7 - Kimberly A. Miller-Spillman, A. R.-H. (2012). The Meaning of Dress. New York: Bloomsbury Publishing. | 8 - Kimberly A. Miller-Spillman, A. R.-H. (2012). The Meaning of Dress. New York: Bloomsbury Publishing. | 9 - Kimberly A. Miller-Spillman, A. R.-H. (2012). The Meaning of Dress. New York: Bloomsbury Publishing. | 10 - Kimberly A. Miller-Spillman, A. R.-H. (2012). The Meaning of Dress. New York: Bloomsbury Publishing. | 11 - Kimberly A. Miller-Spillman, A. R.-H. (2012). The Meaning of Dress. New York: Bloomsbury Publishing. | 12 - Queen, B. t. (2016, May 17). Bob the Drag Queen On Winning RuPaul’s Drag Race, Self-Confidence, and Leading ‘Purse First’. (E. A. Jung, Interviewer) | 13 - Queen, B. t. (2016, May 17). Bob the Drag Queen On Winning RuPaul’s Drag Race, Self-Confidence, and Leading ‘Purse First’. (E. A. Jung, Interviewer) | 14 - Kimberly A. Miller-Spillman, A. R.-H. (2012).

The Meaning of Dress. New York: Bloomsbury Publishing. |

MEN AND DRESSES: A FASHION PARADOX 1 - Welters, L., & Lillethun, A. (2011). The Fashion Reader 2nd edition. Oxford and New York: Berg. p. 117 | 2 - Hoskins, T. E. (2014).

Stitched up: The Anti-Capitalist Book of Fashion. London: Pluto Press. p. 156 | 3 - Rocamora, A., & Smelik, A. (2016). Thinking Through Fashion. London & New York: I.B. Tauris. p. 68 | 4 - Rocamora, A., & Smelik, A. (2016). Thinking Through Fashion. London & New York: I.B. Tauris. p, 28 | 5 - Rocamora, A., & Smelik, A. (2016). Thinking Through Fashion. London & New York: I.B. Tauris. p. 29 | 6 - Leiss, W. S. (1986). Goods as Communicators. In Social Communication in Advertising - Persons, Products & Images of Well-being (pp. 259-297). Toronto: Methuen. p. 268 | 7 - Butler, J. (2004). Undoing Gender. Taylor & Francis Group. June 11th 2020 p. 2 | 8 - Butler, J. (2004). Undoing Gender. Taylor & Francis Group. June 11th 2020 p. 214-218 | 9 - Moore, M. (2018). Fabulous: The Rise of the Beautiful Eccentric. New Haven: Yale University Press, p. 15 | 10 - Luce, I. D. (2019, august 19). Business

Insider. Retrieved from Sweden recently introduced a gender-neutral pronoun. Psychologists say it’s already changing the way people think.: https://www.businessinsider.com/sweden-has-non-gendered-pronoun-changing-the-way-people-think-20198?r=US&IR=T | 11 - Moore, M. (2018). Fabulous: The Rise of the Beautiful Eccentric. New Haven: Yale University Press, p. 13 | 12 - Moore, M. (2018). Fabulous: The Rise of the Beautiful Eccentric. New Haven: Yale University Press, p. 10 |

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