Fashion's Anthropology PDF

Fashion’s Anthropology Isaline Saunier Archaeologist Social anthropologist What does fashion mean to you?  What is sociology/anthropology? Sociology is a discipline of the Humanities and Social Sciences (in French: SHS). Sociology is the science of societies, of how groups interact with...

Fashion’s Anthropology Isaline Saunier Archaeologist Social anthropologist What does fashion mean to you?  What is sociology/anthropology? Sociology is a discipline of the Humanities and Social Sciences (in French: SHS). Sociology is the science of societies, of how groups interact with each other and how they are influenced by the social structures to which they belong (collective and relational perspective with institutions/structures). Anthropology is the science of the human being and the diversity of ways of life, with differences/commonalities (comparisons) between societies (individual and representative perspective of a culture). However, both can be devoted to the study of social productions and cultural worlds. The major difference lies in the tools used. Sociologist’s tools Questionnaire, Survey, Observation (participant or not) Interview Statistics Anthropologist’s tools -Go out into the field work and observe people, -conduct interviews, -live with people, -participatory observation, -collect information, -analyze, compare with other social systems. I. Get out in the fieldwork and observe people  II. Conducting an interview The aim of an interview is to gather information about a subject. This information is then analyzed and compared with other data, whether in the same format or not. The interviewer is the one who seeks the information, the respondent the one who gives it. I d e a l l y, t h e i n t e r v i e w i s r e c o r d e d ( a u d i o o r v i d e o , a l w a y s w i t h t h e respondent’s permission), and the interviewer also takes notes during the discussion. Ask whether the respondent wishes to remain anonymous or not. Find a quiet, serene place. III. Living with people IV. Participant observations V. Collecting information VI. Analyze, compare with other social systems And what about fashion? In each of these disciplines, a particular social system can be studied from a specific angle of analysis. Different angles are possible: food practices, gender, dance, human-animal relations, politics, ecology, religions, or even fashion. Fashion = “the collective evolution of taste and the origin of numerous variations in appearance”. Generally speaking: Studying fashion through the prism of SHS means seeking to understand the interactions it produces within a given social Corée du Nord vs Corée du Sud system. Costume typology: topography and chronology Cesare Vecellio Albert Racinet, Le costume historique – encyclopédie – 1875-188 Mongolian ethnic groups Mongolie 1910-1920 1930-1940 années 2020 1. Founding texts: Bell, Simmel, Barthes, Bourdieu The Theory of the Leisure Class (Veblen, 1899) - Thorstein Veblen Quentin Bell, Mode et société. Essai sur la sociologie du vêtement, Paris, PUF, 1992. Quentin Bell (1910-1996) “Who among us is insensitive to the discomfort of wearing certain clothes we feel obliged to wear? [But] we bend to the norm. There are few people who would simply defy the rules of custom. (Bell, 1992 )” Georg Simmel, « La mode » in Philosophie de la modernité, Paris, Payot, 1989. Georg Simmel (1858-1918) “Where we imitate, we pass from ourselves to others not only the demand for productive energy, but, at the same time, also the responsibility for this action; thus, imitation frees the individual from the anguish of choice and makes him appear quite simply as a creation of the group, as a receptacle of social content. (Simmel, 1989 : 167)”. André Leroi-Gourhan, 13 André Leroi-Gourhan, Évolution et techniques. Milieu et techniques, Paris, Éditions Albin Michel, 1973,. André Leroi-Gourhan (1911-1986) “Clothing is precisely one of these slow-change techniques”. (Leroi-Gourhan 1973 : 202) Pierre Bourdieu, « Haute couture et haute culture » in Questions de sociologie, Paris, Éditions de Minuit, 1984, pp. 196-206. Pierre Bourdieu, Yvette Delsaut, « Le couturier et sa griffe. Contribution à une théorie de la magie » in Actes de la recherche en sciences sociales, Vol. 1, N° 1, 1975, p. 7-36. Pierre Bourdieu (1932-2002) “Haute couture provides the ruling class with the symbolic marks of “class” that are, as we say, de rigueur in all the exclusive ceremonies of the cult that the bourgeois class renders to itself, through the celebration of its own distinction. As such, it is an integral part of the apparatus responsible for organizing this cult and producing the instruments needed to celebrate it. (Bourdieu & Delsaut, 1975: 29)”. Roland Barthes, « Histoire et sociologie du vêtement (quelques observations méthodologiques) » in Annales. ESC, 12ème année, N°3, 1957, pp. 430-441, p. 431. Roland Barthes, Système de la mode, Paris, Seuil, 1967. John Flügel Roland Barthes (1915-1980) “If we go beyond a few rudimentary signs (eccentricity, classicism, dandyism, sport, ceremony), can clothing, in order to signify, do without a word that describes it, comments on it, gives it signifiers and signifieds abundant enough to constitute a real system of meaning? (Barthes 1967)”. Yves Delaporte, « Perspectives méthodologiques et théoriques dans l’étude du vêtement » in Yves Delaporte (dir.), Vêtement et sociétés 2, Actes du Colloque national CNRS « Vers une anthropologie du vêtement », L’Ethnographie, 92-94, 1984, pp. 33-57, “This duality is exemplified in the particular case of the semiotic function, with the signifier and the signified corresponding respectively to each of these two faces. This duality of the garment is exemplified in the particular case of the semiotic function, with the signifier and signified corresponding respectively to each of these two faces.” (Delaporte 1984: 53)) Frédéric Godart, Sociologie de la mode, Paris, La Découverte, 2010. “In fact, fashion only exists because objects, and clothing in particular, have emancipated themselves from the satisfaction of an immediate physical need or functional utility. In this sense, fashion is by definition a luxury, and has its origins in luxury. Luxury is the first expression of capitalism because it generates fashion. Godart (2010: 21-22) ” Cultural appropriation Inspiration or cultural appropriation? Researchers have been interested in the concept of “cultural transfer” since the 1980s. There are many possible objects of study: music, linguistics, the arts, symbols, cinema, fashion, etc. We observe exchanges, contacts, circulations and influences between different cultures. People and objects travel. “Cultural transfer” involves several types of process: borrowing, imitation, hybridization and appropriation. Examples Borrowing: France-Sweden, political and cultural contacts intensify in the 17th century, influence of French culture. French words appear via German, such as “puder” powder or “peruk” wig.  Imitation/Hybridization: Chinese and Japanese vegetable lacquers enjoyed great success in the 18th century. Antique Chinese panels were reused in European-style furniture, and varnishes were imitated. Appropriation: taking an object or symbol from one culture and giving it a whole new use/meaning. For example, the manufacture of silk was appropriated by Europe from a Chinese exclusivity. What boundaries are crossed? Borrowing or exploitation? Homage or “at the expense of”? Collaboration or misappropriation? “Cultural appropriation” = a notion asserted in a militant context, in postcolonial studies and the claims of indigenous peoples. “Cultural appropriation” = taking a cultural element or part (objects, symbols, words) from a culture and giving it a whole new use/meaning, but in a context of domination on an economic, social, political or military level. Notion that changes according to context and stakes: case by case. What about fashion? Questions dominated/dominant relationships, forms of power, symbolic violence and economic capital.  Karlie Kloss, Collection Dior. 2017 défilé Victoria Secrets. 2015 "My kimono is not your underwear." 2019 Collection Gucci. 2018 Claquettes-chaussettes. Dior. 2022 Sac Tati. Balenciaga. 2021 Jean-Paul Gaultier, 2007, for Vogue. Jean-Paul Gaultier, 2007, for Vogue. https://www.youtube.com/ watch?v=VMvmxMP5w0M Artist: @tu_moko moko mataora kauae Urban Outfitters 2012 https://www.youtube.com/ watch?v=r7fMD6OoJ3I The President of the Navajo Nation said: “We believe in protecting our nation, our artisans, our creations, our beliefs and our way of life. We expect any company wishing to use our name, designs or motifs to first ask our permission”. Asháninka woman & Osklen brand 2016 N’go sneakers. According to Bourdieu, fashion is a means of social distinction. How do you think cultural appropriation plays a role in this “distinction”? Does cultural appropriation, especially when practiced by dominant groups, reinforce the social and symbolic hierarchies that Bourdieu describes? Why or why not? How can the adoption of cultural signs by dominant groups, without understanding their meaning, be seen as a reproduction of social inequalities, according to Bourdieu’s concepts?  Veblen talks about conspicuous consumption (or consumption to show one’s social status). How can cultural appropriation be an act of conspicuous consumption in contemporary fashion? Do you think that fashion appropriates cultural elements to make them “markers of luxury” or status? How could cultural appropriation be linked to the desire to show one’s social superiority or to claim a distinct status, according to Veblen?  Fashion: nation & identity What is a nation? How is it defi ned? What are its symbols or emblems? According to Benedict Anderson, a political scientist, nations are “imagined political communities” that today guarantee citizens a sense of belonging to a larger group, of claiming to be part of this group and therefore of immortality. B. Anderson defi nes several elements in the foundation of a nation-state such as museums, cartography, census, homogenization and choice of language, school, militarization or even the offi cial rewriting of history supported by archaeology and ethnography. How can fashion serve a nation and the claim of identity?  How do you think the clothes we choose to wear reflect our personal and cultural identity? Can you give examples of clothing that you feel is typically associated with your country or region? How has fashion evolved in your country? Are there any historical events that have influenced the way people dress? How have social or political movements affected fashion in your culture? What clothing or accessories do you think symbolize patriotism/nationalism in your country? What do they represent? Have you noticed any specific clothing trends that are popularized by celebrities or influencers? How does this impact your own clothing choices?  How can fashion both include and exclude social groups? Are there any clothes that you think are associated with a particular social class? Do you think fashion can be a tool of resistance for certain communities? If so, how? In your opinion, is it possible to have a “national fashion” in an increasingly globalized world? How does this manifest itself? Pierre Bourdieu: Distinction Bourdieu explains how fashion functions as a marker of social class and power. In the national context, fashion can serve to distinguish one national group from another by expressing cultural or political particularities. Speedy Neverfull Roland Barthes: The fashion system Barthes explores how fashion functions as a language, with specific codes and meanings. In this context, national fashion can convey powerful symbolic messages about collective identity, national pride or resistance to cultural domination. collective identity & resistance Giuseppe Garibaldi resistance to cultural domination Plaid & Kilt Kurdish women in festive costume Gandhi Mahatma Mao Zedong national pride national pride  Qipao & Hanfu https://www.youtube.com/shorts/hKrGCLNDgJI https://www.youtube.com/watch?v=cip9DA1UvHk  Qixie Empress Cixi Between tradition and modernity Taïwan & Japon https:// www.youtube.c om/shorts/ yMDxEsqdlfM How do you think fashion will continue to evolve in the context of national identity in the future? What trends might emerge? How might the growing awareness of environmental and ethical issues influence fashion and our perception of national identity?  Globalisation/Glocalisation How has globalization changed the way we perceive and consume fashion today? Do you think that fashion has become more accessible through globalization, or has it created a uniformity of styles across the world? How has globalization influenced fashion trends? Can you give examples of trends that have crossed cultural boundaries? Do you know of any major brands that have failed to establish themselves in certain countries?  Origins: a Japanese concept Glocalization/glocal: neologisms that appeared in the years 1990-1991 (diversity of possible interpretations) “Globalization” + “localization” = “specifi c adaptation of a product or service to each of the places where it is sold, or to each of the cultures to which it is addressed” “The global is not in itself the counterweight to the local. On the contrary, what is often called local is essentially understood within the global. Thus, globalization, defined in its most general sense as the compression of the world into a single unit, includes the bringing together of different localities. But it also presupposes the "invention" of locality, just as one speaks of the invention of tradition” (Robertson 1995, p. 35). https://www.youtube.com/watch?v=h5Iu952eGEE Can you think of examples of brands that have successfully adapted their products to appeal to a local audience while maintaining a global identity? How do local artisans or independent designers use glocalization to stand out on the global stage? Uniqlo Nike Burberry https://www.youtube.com/watch?v=hpPpoB9-n7E https://www.youtube.com/watch?v=58FcpZ74e8Q https://www.youtube.com/watch?v=ZwjoEtGWKB8 How do you think classical sociological theories of fashion can be reinterpreted in light of glocalization, which is transforming both local and global dynamics in the fashion industry?  According to Pierre Bourdieu, fashion is a way for individuals to distinguish themselves socially. Do you think that glocalization allows certain cultures to reclaim their identity through fashion, or does it reinforce the dynamics of cultural domination that Bourdieu criticizes? Georg Simmel explored fashion as a balance between the need to conform and the need to distinguish oneself. How does glocalization amplify this phenomenon? Roland Barthes considers fashion as a system of signs, a visual language where each garment and accessory communicates a message. In a context of glocalization, how do these “signs” evolve? Does the meaning of clothing change when a global trend is adapted locally? For example, can a traditional symbol or motif acquire a new meaning when integrated into a globalized fashion collection? Or is it the opposite? Do you think society has specific expectations about how men and women should dress? How have these expectations evolved? How do you think the media and social networks influence gender norms in fashion? How do you see fashion’s role in the construction of gender identity? Do you think it reinforces or deconstructs gender stereotypes? Do you think that the choice of clothing can be a way of asserting one's gender identity? Do you have any examples of celebrities or artists who use fashion to challenge gender norms? Do you see gender-neutral fashion as a way of expressing yourself freely, or do you feel it’s become a fad?  Gender studies Since the 1930s: anthropology has shown that social relationships are culturally constructed according to the “sex” of individuals. At that time, we speak of “social sex”. Idea: dissociate social sex from anatomical sex. It is “a cultural distinction between social roles, psychological attributes and male and female identities”. It wasn’t until after the 1960s (or even the 1990s) that the term “gender” appeared in France (in the U.S. since the 1970s). Sociologists and feminist philosophers seized on the term before anthropologists. We talk about “gender studies”. But absolutely not “gender theory”. Gender = a social construct Gender studies are concerned with : Social relations ; Women-Men relationships; Representations of the masculine and feminine; Masculinities and femininities; What it means to be a man or a woman in a given society at a given time. LGBT / Queer studies Oppressions and inequalities (intersectionality): Françoise Héritier said “the positive is always on the side of the masculine, and the negative on the side of the feminine”. “One is not born a woman, one becomes one”. Simone de Beauvoir What does this mean? Gender is integrated throughout life, from the earliest age. All activities, games and ways of playing, ways of dressing, colors, and so on, are part of it. Gender is normalized, unconsciously, by children and adults alike. Judith Butler suggests understanding gender not as a natural trait, but as a performance shaped by society. Masculine and feminine roles are behaviors that evolve over time, shaped and reinforced by cultural influences and the media. How have clothes historically codified gender, notably by separating “masculine” and “feminine” clothing? When did fashion create gendered clothing? Marked gender difference : Rococo and extravagance Frac Marked gender difference : Pink & Blue https://www.youtube.com/watch?v=ohwbtkMXJJ0 Pink & Blue : marked gender difference… but not everywhere K-Pop group : BTS Black Indians - New Orleans Mongolian couple From one gender to another : corset Great Britain 18 th c. John Gallliano - Printemps/Été 2010-2011 From one gender to another : blazer Maud Balmain prêt-à-porter automne/hiver 2010- Joachim 2011 From both gender to only one : heels No gender difference : China  Usage No gender difference : Mongolia de la mode en Mongolie LGBT communities in Mongolia No gender difference : Tibet What role does the fashion industry play in redefining gender, the feminine and the masculine? Gender fluidity Thom Browne Printemps-Eté 2020 Harris Reed Automne-Hiver 2022 Fashion and queerness And the media Balenciaga. Automne-Hiver 2014 Givenchy. Automne-Hiver 2010  How can Veblen’s theory of “conspicuous consumption” explain the importance of luxury brands and clothing in affirming certain gendered identities? This explores how certain luxury garments for men and women serve to assert social status, and underline an often gendered image of success.  How can gendered clothing practices reflect “habitus” (in Bourdieu’s sense) that are specific to genders and social groups? The aim of this question is to reflect on gendered habitus, the tastes and attitudes embodied in the clothing practices of individuals according to their gender and background. Also linked with Butler’s studies.  How does fashion participate, according to Barthes, in the construction of a “system of signs” and gendered symbols? The aim is to explore how clothes become signs in the fashion system, by attributing specific meanings to genders such as refinement, seduction or power. Fashion diffusions Classical Vebleno-Simmelian theory of the top down of society  From bottom to top: Gothic style and punk style https://www.youtube.com/watch?v=1Gv5EqSud-s  Horizontal or lateral  Modest fashion: ethical and aesthetic Is fashion immodest? What values or social norms are generally associated with modest fashion in different cultures? How can modest fashion meet modern style expectations while remaining true to traditional social norms?  Baum und Pferdgarten Max Mara collection automne-hiver 2022-2023 à automne-hiver 2022- la Fashion Week de 2023 à la Fashion Week Copenhague de Milan. https://www.youtube.com/watch?v=_CLQAn1c_xE https://www.youtube.com/watch?v=63Jz2b7q6QM  How does modest fashion challenge or reinforce gender stereotypes in society? According to feminist theories of fashion, is modest fashion a means of control over the female body or a form of empowerment? How does modest fashion respond to criticisms of “male gaze” in the fashion industry? Can it offer a form of resistance to traditional standards of femininity? How does Georg Simmel’s theory of imitation and differentiation apply to modest fashion? To what extent does modest fashion correspond to Thorstein Veblen’s theory of ostentatious display? Can it be perceived as a sign of social or economic status?  Materials (constraint/innovation) Define constraint in anthropology/sociology? Term that comes from its Latin root, constringere = bound by bonds, chained, hindered In SHS: the constraint of work or in education is thought of as “our way of understanding and experiencing freedom, often defined – somewhat hastily – precisely as the power to act independently of any constraint” (Nal 2015) “Where does constraint come from? It can be intrinsic, coming from us, as humans and individuals, and/or extrinsic, that is, coming from outside.” How do past or present communities adapt to constraints in the context of fashion? How do they use them to turn them into strength? How does material scarcity influence creative processes in fashion design?  Te x t i l e s t o r e Fa s h i o n d e s i g n e r Ulaanbaatar 2015 & 2019 Silk among nomads in the 2nd century AD What kinds of narratives emerge when designers use innovative or alternative materials, and how does this redefine luxury and exclusivity?  Bella Hadid au d é fi l é Coperni. 2022 B e l l a H a d i d , C o p e r n i f a s h i o n s h o w. 2 0 2 https://www.youtube.com/watch?v=lMVnjtT06 Does the lack of original materials encourage the adoption of new skills or traditional techniques? C a n t h e o l d i n n ova t e? L'A r s o i e ( O c c i t a n i e ) , h ig h - e n d c o u t u r e s t o c k i ngs I s P r o g r e s s O n ly C o n t e m p o r a r y? T h e M o ngo l i a n S ov i e t Tex t i l e I n d u s t r y Sm a r t Text i l es & he r i t age : how to t ra nsm i t? K r i s t i Ku u s k And what a bou t t he f ut ure? https://www.youtube.com/watch?v=67W5s3XBRzE https://www.youtube.com/watch?v=3UrBgMf1554