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The aim of this thesis is to explore the development of Swedish fashion between 1930 and 1960 by examining the textile and clothing industry from the wider perspective of fashion production. It was during this period that Sweden was transformed into a leading industrial nation, which laid the foundation for increased prosperity in the post-war period. This historical and empirical study is predominantly based on systematic analysis of Swedish official statistics and close reading of the fashion press. The thesis applies a combination of approaches in the analytical chapters (chapter 2–4) that include three central aspects of fashion production: manufacturing, symbolic production, and the production of a national fashion. Chapter 2 gives an account of the industrial production of clothing and examines the scope, size and structure of the textile and clothing industry. The results confirm its importance to the Swedish economy in the period. One important finding shows that a shift in production from tailored outerwear to lighter garments occurred as early as the mid-1950s. Chapter 3 investigates the symbolic production of fashion by looking at the structure of the field of fashion in Sweden. The results show a French dominance where couturiers were celebrated as creative 'artists'. A significant finding is how the idea of Swedish fashion was considered a process of creating economic value, as in clothing manufacturing. Chapter 4 deals with fashion as an expression of national culture. The result reveals a significant fashion culture associated with an everyday wear fashion that followed the Social Democratic reforms aimed at equality in society during the period. One important finding is that the wool coat was the hallmark of Swedish fashion identity in the post-war period. These results contribute to a broader understanding of fashion production and new insights into the history of its developments in Sweden between 1930 and 1960, which has gone largely unrecognised by previous fashion historians.

Intro -- Title Page -- Contents -- List of Illustrations -- Acknowledgements -- Introduction -- 1 Authoring Fashion, Intersecting Sex and Gender -- Introduction -- Maria Grazia Chiuri's 'We Should All Be Feminists' T-Shirt for Christian Dior: Branding, identity and authorship -- Between the womb and the gay parade: Alexander McQueen's 'The Widows of Culloden' as poetic text -- Subverting the symbolic order: McQueen's abject woman -- Conclusion: Squaring up to the phallic mother -- Notes -- 2 Written on the body: Fashion, clothing and age -- Introduction -- 'Active ageing', youthfulness and fashion -- 'Fashion For All Ages' and the new old model army -- Race and reversing convention -- 'States of truth and fiction': Ari Seth Cohen and Magali Nougare`de -- Conclusion: From idiotic methods to the realities of time and place -- Notes -- 3 (Un) Gendering the runway -- Introduction -- Forerunners of transgender and non-binary identities in fashion -- The advent of transgendered models -- The abject trans-model -- Between abjection and acceptance -- 'Come into the (trans)garden': The heterotopia of fashion -- The authentic self -- Other models: Intersectionality and wider diversity in the fashion industry -- Tokenism versus activism -- Conclusion: Between tokenism and authenticity -- Notes -- 4 Loving the alien: Fashion and cyborg identities -- Introduction -- Andrea Giacobbe and 'Simplex Concordia' -- Alessandro Michele and the Gucci Cyborg -- Compromising race and diversity -- A 'genuine cyborg manifesto'? -- Conclusion: Towards emancipatory possibilities -- Notes -- Epilogue -- Bibliographic references -- Index -- Imprint.

Book reviewed in this article:The Hostage, Zayd Mutee' Dammaj, Translated by May Jayyusi and Christopher TingleyRamza, Out el Kouloub, Translated with an Introduction by Nayra Atiya

Aware: Art Fashion Identity co-curated by Lucy Orta with the independent curator Gabi Scardi examines how artists and designers use clothing as a mechanism to communicate and reveal elements of our identity. The exhibition contains work by 30 emerging as well as established international contemporary practitioners including Marina Abramović, Acconci Studio, Azra Akšamija, Maja Bajevic, Handan Börüteçene, Hussein Chalayan, Alicia Framis, Meschac Gaba, Marie-Ange Guilleminot, Andreas Gursky, Mella Jaarsma, Kimsooja, Claudia Losi, Susie MacMurray, Marcello Maloberti, La Maison Martin Margiela, Alexander McQueen, Yoko Ono, Maria Papadimitriou, Grayson Perry, Dai Rees, Katerina šedá, Cindy Sherman, Yinka Shonibare, Helen Storey, Rosemarie Trockel, Sharif Waked, Gillian Wearing RA, Yohji Yamamoto and Andrea Zittel. New work by Yinka Shonibare and Hussein Chalayan, commissioned especially for Aware by London College of Fashion and the Royal Academy of Arts, is on display. Hussein Chalayan presents a new dress inspired by the 300 year old Japanese tradition of Bunraku puppet theatre while Yinka Shonibare has worked with bespoke tailor Chris Stevens to create 19th-century children's dress assembled to form a impressive wall mural. Aware is divided into four sections. Storytelling acknowledges the role of clothing in the representation of personal and cultural history. Grayson Perry's Artist's Robe, 2004, an elaborate, appliquéd coat made of a patchwork of luxurious fabrics, comments on the figure and status of the artist in the world today. Building covers the concept of clothing being used as a form of protection and the notion of carrying one's own shelter, referencing the nomadic, portable nature of modern life. On display is Shelter Me 1, 2005 by Mella Jaarsma who in her work parallels garment and architectural constructions. Jaarsma defines shelter as the minimal construction needed for protection, not yet the shape of a house, but directly related to the proportions of the human body. Belonging and Confronting examines ideas of nationality as well as displacement and political and social confrontation, recognizing the tensions associated with the assimilation of new cultures and traditions. In Palestinian artist Sharif Waked's video installation, Chic Point, 2003, the contradictory interpretations of revealing flesh as a fashion prerogative or as a humiliation juxtapose two worlds, one of high fashion and the other of semi-imprisonment. The importance of Performance in the presentation of fashion and clothing, and in highlighting the roles that we play in our daily life, is explored in the final section. It features film footage of Yoko Ono's performance of Cut Piece at Carnegie Recital Hall, New York in 1965, for which the artist invited the public to cut strips from her clothing. While the scraps of fabric fall to the floor, the unveiling of the female body suggests the total destruction of the barriers imposed by convention.

This new book, published to coincide with an exhibition at the Royal Academy of Arts, London co-curated by Lucy Orta and Gabi Scardi (opened, 2/12/2010), looks at the relationship between the work of leading contemporary artists and fashion designers. Aware – Art Fashion Identity reflects upon the relationship between our physical covering and constructed personal environments, our individual and social identities and the contexts in which we live. The book examines the role of clothing in cultural and personal stories, through the work of 30 artists. Issues of belonging and nationality, displacement and political and social confrontation are addressed in the work of Yinka Shonibare, Sharif Waked, Alicia Framis, Meschac Gaba, Dai Rees and Acconci Studio. The importance of performance in the presentation of fashion and clothing, and in highlighting the roles that we play in our daily life, is explored through the work of Hussein Chalayan, Gillian Wearing RA and Andreas Gursky, amongst others. As a mechanism of expression, the exploration of the role of clothing has been at the heart of the artistic practice of a number of contemporary artists, and has particular resonance for those attuned to the social situations of their times.

For the contributors to In Fashion: Culture, Commerce, Craft, and Identity being "in fashion" is about self-presentation; defining how fashion is presented in the visual, written, and performing arts; and about design, craft, manufacturing, packaging, marketing and archives. The book's international cast of authors engage "in" fashion from various disciplinary, professional, and creative perspectives; i.e., anthropology, archaeology, art history, cultural studies, design, environmental studies, fashion studies, history, international relations, literature, marketing, philosophy, sociology, technology, and theatre. In Fashion has five sections: • Fashioning Representations: Texts, Images, and Performances; • Fashionable: Shopping, Luxury, and Vintage; • Fashion's Materials: Craft, Industry, and Innovation; • Museum Worthy: Fashion and the Archive; • Fashioning Cultural Identities: Case Studies

Machine generated contents note:1.Introduction /Aida Yuen Wong --pt. IGarments and Uniforms --2.Dressing Up During the Meiji Restoration: A Perspective on Fukusei (Clothing Reform) /Yoshinori Osakabe --3.Dress Policy and Western-Style Court Attire in Modern Korea /Kyungmee Lee --4.Monarchist Ambition in China's New Republic: Illustrated Manual of Dress for Ritual Sacrifice for Yuan Shikai's Presidency /Aida Yuen Wong --5.School Uniform Reforms in Modern Japan /Tomoko Namba --6.A Spectacle of Authority on the Streets: Police Uniforms in Imperial Japan and Colonial Korea /Michiyo Nomura --pt. IIAccessories --7.Gendered Differences in Modern Korea Toward Western Luxuries /Kyeongmi Joo --8.Affecting Grandiosity: Manchuness and the Liangbatou Hairdo-Turned-Headpiece Circa 1870s-1930s /Gary Wang --9.The Lady's Fan: Fashion Accessories and Modern Femininity in Republican China /Mei Mei Rado --pt. IIIFabrics --10.Fashioning the Foreign: Using British Woolens in Nineteenth-Century China /Rachel Silberstein --11.Woolen Cloths and the Boom of Fancy Kimono: Worsted Muslin and the Development of "Kawaii" Designs in Japan /Seiko Sugimoto --12.Hybrid Dandyism: European Woolen Fabric in East Asia /Kyunghee Pyun --pt. IVFashion Styles --13.Monks in Modern Dress: The Dilemma of Being Japanese and Asian /Brij Tankha --14.Style as Identity: Fashion in Taiwan in the Early Twentieth Century /Chunmei Sun --15.Clothes Make the Woman: Cbeongsam and Chinese Identity in Hong Kong /Sandy Ng.