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  • 1.
    Babaei, Behnaz
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    “As Long as We Live, They Too Will Live”: A qualitative study on sartorial objects as mediator between deceased and bereaved2016Independent thesis Advanced level (degree of Master (Two Years)), 80 credits / 120 HE creditsStudent thesis
    Abstract [en]

    This thesis investigates the symbolic presence of deceased people through their remaining sartorial objects including their clothes and accessories. Utilizing theories from anthropology, psychoanalysis, fashion studies, and sociology, the study explores different ways in which objects create the presence of a deceased person. Through six semi-structured interviews, the main functionality of sartorial objects as triggers of memories and as bearers of individuals’ traces is examined. The thesis explores how sartorial objects function as repositories of memories, how they influence individuals’ perceptions, how they change in value after death, and how they become mediators between the deceased and the bereaved.

  • 2.
    Berglund, Ulrika
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Medelvägens lyx: Franska hantverkstraditioner och folkhemsvisioner i Sverige kring mitten av 1900-talet2015In: Det svenska begäret: Sekler av lyxkonsumtion / [ed] Paula von Wachenfeldt, Klas Nyberg, Stockholm: Carlsson Bokförlag, 2015Chapter in book (Other academic)
  • 3. Bucci, Alessandro
    et al.
    Faggella, Chiara
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Parallel universes: Fashion studies education today2018In: International Journal of Fashion Studies, ISSN 2051-7114, Vol. 5, no 1, p. 149-155Article in journal (Refereed)
  • 4.
    Carlberg, Marianne
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Skådespelare, kostymer och kontrakt: en bortglömde del av teater- och kostymhistorien2016Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The purpose of this study - Actors, costumes and agreements - is to highlight an almost forgotten part of the history of theatre costume and theatre history.  During at least two hundred years actors in Sweden were expected to contribute to the performance by their costumes. The study is divided into three parts: agreements, memoirs and conversation. Nine agreements between theatres and actors from 1778 to 1971 will be analyzed with focus on costumes. What do they express about the period, fashion and repertoire, audience? The theatres demand of the actors could be very detailed and shifting. Three memoire books and conversation with seven actors represent the actors view. Questions arise about actors poor economy, theatre culture and gender. The study will also show periods with connection between fashion and theatre costume.

  • 5.
    Castaldo Lunden, Elizabeth
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    A Woman’s Job: Edith Head’s Transformation from School Teacher into Hollywood’s Most Iconic Costume Designer2019Conference paper (Refereed)
  • 6.
    Castaldo Lunden, Elizabeth
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Edith Head: From Costume Designer to Fashion Expert2019Conference paper (Refereed)
    Abstract [en]

    Costume designer Edith Head has become a symbol of Hollywood costume designers. With more than 50 years of career designing for the big screen, her iconic look has inspired several characters that pay homage to her legacy. Edith Head started her career in 1924 as Howard Greer’s assistant. Without any background in drawing or costume design, Head rapidly ascended to head of the costume department in 1937, when Travis Banton left Paramount and join Howard Greer in his Beverly Hills fashion atelier. Scholars have presented her career as a linear story of costume design success, focusing mostly on her time at Paramount Pictures and basing arguments onHead’s own media declarations. However, Head’s media appearances and the widespread popularity as a public persona demonstrate that a large part of her work for the studio rested on being a promoter by exploiting her role as a mediator of fashion discourses for female audiences. Head used the looks of the stars to educate women into finding “their type” and showed them how to adapt screen looks for real-life situations. This paper looks at the role of Edith Head as a cultural translator of fashion, guiding American woman into the meaning of style and femininity in post-war America, by focusing on Head’s radio segments, books, and her work as the Academy Awards fashion consultant. The presentation will demonstrate that Head was a key PR figure for the studio and that this strategy also worked on her favor to perpetuate her position in the job market after the demise of the studio system.

  • 7.
    Castaldo Lunden, Elizabeth
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Exploring the Intersections of Fashion, Film, and Media2018Collection (editor) (Refereed)
    Abstract [en]

    Since the turn of the twentieth century, the film industry has played a key role in the promotion and representation of fashion. Likewise, fashion’s mediated character through newsreels, television, newspapers, magazines, photography, and even paintings has facilitated the study of costume and dress history. Film scholars have dedicated efforts to the study of fashion, film, and media, focusing mostly but not exclusively on matters of representation through costume design. Significant contributions from scholars like Jane Gaines, Stella Bruzzi, Tamar Jeffers McDonald, and Adrienne Munich among others have paved the way for an interdisciplinary approach to study fashion from a film and media perspective and shaped a multitude of intercultural links between cinema and other media practices. Far from being an exhausted topic, however, the intersections between the fashion and film industries offer a vast potential that is increasingly becoming of interest to early career scholars around the globe. This special issue seeks to widen the existing research network, presenting articles from postgraduate students and early career researchers from different background with a dedicated interest in researching the intersections between fashion, film, and media. These papers provide an overview of the ways in which these areas of study overlap and intertwine.

  • 8.
    Castaldo Lunden, Elizabeth
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Hollywood In and Out: A Look into the Academy Awards Ceremony's Transition from Private Banquet to Public Spectacle2019Conference paper (Refereed)
    Abstract [en]

    The Academy Awards ceremony is the foremost reference to Hollywood gatherings. Since its inception, in 1929, the event has shifted format and itinerated in different locations, frequently outside the confinements of Hollywood city. Several of these changes of venue bare a close relation with political decisions, the events’ increasing popularity, and the technological developments that turned the ceremony into a media event. Key to this mediatization of the Oscars is how the ceremony transformed from a private banquet into a public spectacle. This paper looks into such a transition from a private gathering into a public spectacle and the consequent spatial reconfigurations.

    It is necessary to problematize the conceptualization of Hollywood, understanding it as a fluid idea that works both as a geographical space and as well as a community striving for prestige. This paper engages with Michel Foucault’s concept of heterotopia to help elucidate how the U.S. film industry’s appropriation of the notion of Hollywood allowed it to function as an abstract conception for the mediascape instead of anchoring the event to a geographical area. The first Oscars ceremony took place at the Roosevelt Hotel, in Hollywood. By 1930, the Academy Awards moved outside Hollywood, at the Ambassador Hotel’s Cocoanut Grove in Los Angeles. A big leap from private gatherings to public spectacle took place in 1944 when the ceremony changed the format and moved into Grauman’s Chinese Theatre. Historical discourses around the event attribute such shift to a search for austerity during wartime. I argue that rather than lowering the event's profile as a gesture of austerity, the move into movie venues turned the ceremony into a grandiose public spectacle that function as the steppingstone for the media event we see today. By 1947, the Oscars had already moved out of Hollywood. Despite the restless migratory patterns that took the ceremony continued carrying its aura as the quintessential spectacle “live from Hollywood.” It was not until the construction of the Kodak Theatre was completed, in 2002, that the ceremony established in Hollywood for good. 

    This presentation provides a historical overview of the Academy Awards Ceremony from a spatial perspective by looking at the venues in which it was organized, their infrastructure, and the arrangements required as a consequence of technological media shifts and the events’ increasing popularity. 

  • 9.
    Castaldo Lunden, Elizabeth
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Introduction: Exploring the Intersection of Fashion, Film, and Media2018In: Networking Knowledge: Journal of the MeCCSA Postgraduate Network, ISSN 1755-9944, Vol. 11, no 1, p. 1-6Article in journal (Other academic)
    Abstract [en]

    This special issue belongs to a series of activities under the umbrella denomination “Studying and Exploring the Intersections of Fashion, Film, and Media Studies,” created in 2014 by film scholar Anne Bachmann and I. Our goal was to promote an interdisciplinary perspective to the study of fashion, film, and media. This venture was launched with two activities at the 2015 edition of the annual conference of the Society for Cinema and Media Studies, in Montreal. The first activity consisted of a panel featuring the on-going projects of four Ph.D. students working with these combined fields.[1]  The second activity consisted of a workshop, in which presentations opened to discussions addressing how the use of archival material and film fan magazines, combined with film studies’ methodological approach to history, could benefit fashion research.[2] This workshop expanded into a Symposium at Stockholm University featuring established scholars who pioneered research in these fields of studies combined. This special issue of Networking Knowledge seeks to include early career researchers in such conversation, broadening the network of scholars and the combined field of expertise. Since its inception, a historical approach has been encouraged by the founders of this project. Yet, the semiotic roots used for textual analysis of costume design shall not be overlooked. In this sense, this special issue intends to present a panorama of the heterogeneous nature of studies in these interconnected fields.

  • 10.
    Castaldo Lunden, Elizabeth
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Pre-Code Hollywood: The Final Sparks of the Insubordinate Screen2016Conference paper (Other (popular science, discussion, etc.))
  • 11.
    Castaldo Lunden, Elizabeth
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    The most famous costume designer: constructing Edith Head’s narrative from school teacher to Hollywood stardust2019Conference paper (Refereed)
  • 12.
    Castaldo Lunden, Elizabeth
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    The “Paco Rabanne Myth”: How Archival Research Can Help Us Deconstruct Celebrity Discourses2016Conference paper (Other academic)
  • 13.
    Castaldo Lunden, Elizabeth
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    When Shallowness Enables Depth: The Oscars as a Scenario for Socio-Political Protest2016Other (Other (popular science, discussion, etc.))
  • 14.
    Castaldo Lundén, Elizabeth
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    A quién le importan los mejores vestidos? La lista infame de Mr. Blackwell y el lema toda prensa es buena prensa2014Conference paper (Refereed)
  • 15.
    Castaldo Lundén, Elizabeth
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Barbarella: 50 Years of Space Age2018Conference paper (Other (popular science, discussion, etc.))
  • 16.
    Castaldo Lundén, Elizabeth
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Barbarella's wardrobe: Exploring Jacques Fonteray’s intergalactic runway2016In: Film Fashion and Consumption, ISSN 2044-2823, E-ISSN 2044-2831, Vol. 5, no 2, p. 185-211Article in journal (Refereed)
    Abstract [en]

    Jane Fonda’s intergalactic adventure, Barbarella (Dino De Laurentiis Cinematografica, 1968), looms large in popular culture despite its mild reception in 1968. Disguised under its sartorial splendor, the film’s narrative clearly negotiates social anxieties of the late ‘60s. Similarly, the production design of the film incorporates contemporary elements from art, architecture and fashion. Paco Rabanne is frequently credited as the creator of Fonda’s onscreen parade of highly stylized costumes. Yet, the Spanish designer only created one of her eight outfits. The paper addresses this misconception by exploring how the film’s mise-en-scène captured the contemporary design trends beyond Rabanne’s participation, perpetuating Barbarella as a symbol of its own times.

  • 17.
    Castaldo Lundén, Elizabeth
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Comunicación responsable de la violencia de género2016Conference paper (Other academic)
  • 18.
    Castaldo Lundén, Elizabeth
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Cuerpos de Emulación Pecuniaria: Estrellas de Hollywood como elemento homogeneizador de la femineidad e identidad nacional en los Estados Unidos2017Conference paper (Refereed)
    Abstract [es]

    El fin del siglo XIX acarreó cambios sustanciales para las mujeres en los Estados Unidos. El cambio de paradigma que permitió a hombres y mujeres compartir la esfera pública, el creciente rol de la mujer en el ámbito laboral, el surgimiento del culto a la “personalidad,” y la consolidación de la industria del cine tuvieron incidencia directa en la reconfiguración de la femineidad y la búsqueda de una identidad nacional entre las jóvenes inmigrantes de la clase trabajadora de los Estados Unidos. Lentamente, las estrellas de cine ganaron prestigio como símbolos de belleza y movilidad social para miles de jóvenes mujeres gracias a la circulación de imágenes en suplementos dominicales y revistas especializadas en cine. En breve, la industria del cine Estadounidense comenzó a replicar los formatos de revistas como Photoplay y Motion Picture Magazine para los países de habla hispana, propagando su hegemonía a lo largo y a lo ancho del continente. Parte fundamental del proceso de identificación está ligado al creciente uso de estrellas de cine en publicidades de productos de belleza y moda. La agencia de publicidad J. W. Thompson fue el eje fundamental de dicha dinámica. La empresa contaba con un grupo de mujeres ejecutivas a cargo de las cuentas correspondientes as productos de belleza. Estas mujeres, en su mayoría pertenecientes al movimiento sufragista de los Estados Unidos, tuvieron un rol fundamental en el desarrollo de productos y campañas orientadas al público femenino. La presentación dará un paneo histórico sobre la transición de estos cuerpos de emulación pecuniaria con el fin de comprender el cambio cultural que llevó a las estrellas de Hollywood de símbolos la “Americanization” de la diáspora en los Estados Unidos a convertirse en sinónimo de glamour y sofisticación para mujeres alrededor del mundo.

  • 19.
    Castaldo Lundén, Elizabeth
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Dior Salve a la Reina: Cristina Fernández's Fashionable Pleasures and her Constant War Against the Media2013Conference paper (Refereed)
    Abstract [en]

    Is an austerity discourse compatible with ostentation? And if so, how can the contempt against the middle class be compatible with the veneration of a rich leader? Why is Cristina Fernandez’s indulgent luxury forgiven while the working middle class is stigmatized as privileged oligarchs? How does this relate to the controversial and iconic figure of Eva Duarte de Perón? The paper describes the dichotomy between Cristina Fernandez’s national populist discourse and her personal preference for high-end brands that had turned her into a fashion icon, capturing the attention of fashion bloggers, international newspapers and even Vogue. Theoretically framed by O’Donell’s conceptualization of Delegative Democracies, the presentation will explore how disguised under a veneer of socialism—and pursuing Chavez’s model for Venezuela—Argentina's president has mobilized a campaign to control the local Media that lead to confrontation with those journalists who persistently try to unmask her luxurious lifestyle, shopping preferences, and unclear finances. This contradiction between luxury and utterance is not new to the Argentine masses. The iconic figure of Evita was often under attack accused of enjoying the same lifestyle as those she criticized. The parallelism between these two figures draws an interesting conclusion about the role of Media, performance, nostalgia, and fandom in Latin-American politics. *Play on words exchanging Dios (God) for Dior as in Dior (God) Save the Queen.

  • 20.
    Castaldo Lundén, Elizabeth
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    From Scarcity to Abundance: How Digitized Material Demands Academic Cooperation2017Conference paper (Other academic)
    Abstract [en]

    The recent proliferation of free-access digital archives opened a new era of research in which costs decrease as information flourishes. This abundance represents countless possibilities, but as material becomes more vast and accessible, the anxieties for publishing increase, in a profession that already dealt with a haunting “race against time” to present results. In addition, the challenge of accessing larger bulks of material builds up pressure, calling for more precision in arguments, as results derive from a larger amount of primary sources. The use of fan magazines as sources for academic research is vast in film and media studies, but its potential across newer fields—such as fashion and celebrity studies—is increasingly bringing more players into the game. 

    Moving forward with these changes without analyzing the extent of their impact would be awry. In this landscape, Carlo Ginzburg’s Microhistory and Walter Benjamin’s problematization of historical debris need to be revisited, not in metatheoretical manner, but rather in a search for answers in this new reconfiguration. My argument for this workshop is that abundance and time constrains enable a reformulation of research questions and the emergence of a more collaborative research environment; more material also requires more contextual knowledge, making the bulk of work increase exponentially. In addition, I call to not lose from sight that abundance does not imply completion, calling for awareness of the—always-tempting—illusion of historical completion.

    This presentation explores the potentials and anxieties brought by the abundance and accessibility of digital archives, as it also intends to offer an overview of a potential reconfiguration of academic work enabled by these new research platforms. As with every workshop, I bring more questions that answer to open up for debate. How can we get pass the anxiety of abundance? Do we need to “zoom in” deeper when conducting research in this new landscape? How do research networks reconfigure as more material becomes electronically available? Is this new availability of material opening up for historical revisionisms? How do we incorporate these tools in the classroom?

  • 21.
    Castaldo Lundén, Elizabeth
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Hollywood, moda y la alfombra roja: El surgimiento del consultor de moda en los Oscars2014Conference paper (Refereed)
  • 22.
    Castaldo Lundén, Elizabeth
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Jaws: Creating the Myth of the Man-Eating Machine2015Conference paper (Refereed)
  • 23.
    Castaldo Lundén, Elizabeth
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Oscar Night in Hollywood: the Emergence of the Academy Awards' Fashion Pre-Show2015Conference paper (Other academic)
  • 24.
    Castaldo Lundén, Elizabeth
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    The Case of Lux Flakes: The Costume Designers as Fashion Experts and Endorsers during the Studio Era2018Conference paper (Other academic)
  • 25.
    Castaldo Lundén, Elizabeth
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    The Future in the Past: Exploring Barbarella’s Intergalactic Catwalk2016Conference paper (Refereed)
    Abstract [en]

    Despite its controversial reception in 1968, Barbarella (Dino De Laurentiis Cinematografica, 1968) looms large in popular culture. Disguised under its sartorial splendor, the film’s narrative clearly negotiates social anxieties of the late ‘60s. Similarly, its production design incorporates contemporary elements present in art, architecture and fashion that stand today as a symbol of the space age design. Arguably, these elements of style, along with its camp representation of the future, played a key role in catapulting the film to its cult status. Spanish designer Paco Rabanne is frequently credited for the creation of Jane Fonda’s onscreen parade of highly stylized costumes. Moreover, fashion magazines oftentimes associate the overall aesthetic of his brand to his past contrubution in the film, which has served for framing runway shows and inspiring collections to date. However, the man responsible for creating fashion for Roger Vadim's vision of the year 40,000 was French costume designer Jacques Fonteray. The case of Paco Rabanne and Barbarella serves as an interesting example of how popular culture appropriates history, contributing to the construction of myths through media. Grounded on archival research, this article explores the role of Jacques Fonteray in the overall creation of the Jane Fonda's costumes, debunking popular misconception regarding Paco Rabanne’s influence on the film’s overall aesthetics.

  • 26.
    Castaldo Lundén, Elizabeth
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Who Cares About the Best Dressed?: Mr. Blackwell’s Infamous List and the Art of Self-Branding2014Conference paper (Refereed)
    Abstract [en]

    Before Joan Rivers’s Fashion Police (E! Entertainment, 2002- ), there was a man who made a reputation in Hollywood for his outspoken criticism of celebrity style. Provocative, overopinionated, controversial, admired, hated and feared; self proclaimed fashion’s advocate Richard Blackwell achieved worldwide recognition after launching his annual 10 Worst Dresed List in 1960. His outrageous comments against celebrities catapulted him to stardom, and turned him into a popular culture icon. Yet, the articulation of his list was a clear act of Winchellism rather than a sincere call for style. But, how much did Blackwell know about fashion? How did he become an authority on how American women should dress and behave? Overlooked by the fashion industry, Mr. Blackwell achieved a status among popular audiences that his more knowledgable detractors could not outshine. This paper looks at historical reception of Mr. Blackwell as a victimizer, but also a victim of celebrity culture. A master of performance and self branding rather than a fashion conoceur. A man seeking fame and recognition, who cleverly found a nische in the enterteinment industry through his controversial statements about stars, style and fashion, propelling a skyrocketing career in Hollywood he so longed for, and becoming a symbol for “all publicity is good publicity.”

  • 27.
    Castaldo Lundén, Elizabeth
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Who Cares About the Best-Dressed?: Mr. Blackwell's Infamous List and the Art of Self-Branding2014In: : Mr. Blackwell's Infamous List and the Art of Self-Branding, 2014Conference paper (Refereed)
    Abstract [en]

    Before Joan Rivers’s Fashion Police (E! Entertainment, 2002- ), there was a man who made a reputation in Hollywood for his outspoken criticism of celebrity style. Provocative, overopinionated, controversial, admired, hated and feared; self proclaimed fashion’s advocate Richard Blackwell achieved worldwide recognition after launching his annual 10 Worst Dresed List in 1960. His outrageous comments against celebrities catapulted him to stardom, and turned him into a popular culture icon. Yet, the articulation of his list was a clear act of Winchellism rather than a sincere call for style. But, how much did Blackwell know about fashion? How did he become an authority on how American women should dress and behave? Overlooked by the fashion industry, Mr. Blackwell achieved a status among popular audiences that his more knowledgable detractors could not outshine. This paper looks at historical reception of Mr. Blackwell as a victimizer, but also a victim of celebrity culture. A master of performance and self branding rather than a fashion conoceur. A man seeking fame and recognition, who cleverly found a nische in the enterteinment industry through his controversial statements about stars, style and fashion, propelling a skyrocketing career in Hollywood he so longed for, and becoming a symbol for “all publicity is good publicity.”

  • 28.
    Castaldo Lundén, Elizabeth
    et al.
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Faggella, Chiara
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Editorial Foreword2019In: Film Fashion and Consumption, ISSN 2044-2823, E-ISSN 2044-2831, Vol. 8, no 1, p. 3-8Article in journal (Other academic)
  • 29.
    Castaldo Lundén, Elizabeth
    et al.
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Jeffers McDonald, Tamar
    Romero, Jenny
    Because Fashion Matters: Studying the Intersections of Fashion, Film and Media2015Conference paper (Other academic)
    Abstract [en]

    The increasing interest in the study of fashion has opened up to the emergence of Fashion Studies as an independent field, with programs in several universities around the globe. However, the study of fashion should not be regarded as a new phenomenon. For decades, scholars from varied disciplines in the humanities and the social sciences have immersed themselves in the study of fashion, particularly in relation to film and media. Since the early days of cinema, the film industry played a key role in the promotion and representation of fashion. Likewise, its mediated character through newsreels, television, newspapers, magazines, photography and even paintings has facilitated the study of costume and dress history. Film scholars like Jane Gaines, Stella Bruzzi, and Pamela Church Gibson—among others—have vastly contributed to the interdisciplinary study of these intersections. Furthermore, in order to explore the specificities of these areas, Church Gibson launched the journal Fashion Film and Consumption, though the publishing house Intellect Books in 2011.

    In this contemporary setting, a pertinent and necessary topic to explore is the demands on interdisciplinary approaches, both from the side of Fashion Studies scholars with a purist point of view, and from their counterpoints in Film and Media more likely to envelop fashion in visual culture as a whole.

    As discussions regarding delimitations and canons take place behind close doors in fashion programsthe need to open up such debate to Film and Media scholars is vital to the future of a field that has seen a great part of its development through these neighboring contributions. 

    The workshop will explore the study of Film, Media and Fashion in coexistence with the emergence of Fashion Studies as an independent field, focusing on questions of methodology, theory and practice through the experience of different film and media scholars working with fashion and film. Before opening up the floor for discussion, a brief set of presentations will serve as a framework to address the debate, engaging the audience in reflections surrounding the following questions: 

     

    • What are the challenges and advantages of film and media scholars engaging in fashion research? 
    • Is Fashion Studies an exclusive realm for fashion scholars? 
    • Is there one singular way to study and teach fashion independently from its neighboring disciplines? 
    • What can different approaches used in Film and Media Studies contribute to the study of fashion? 
    • To what extent can Fashion Studies exist as a totally independent field, avoiding connections with Film and Media? 
  • 30.
    Ehlin, Lisa
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Embodied Images and Mediated BodiesIn: Fashion, Style & Popular Culture, ISSN 2050-0726, E-ISSN 2050-0734Article in journal (Refereed)
  • 31.
    Ehlin, Lisa
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Reblogging Fashion: Participatory curation on Tumblr2014In: NMEDIAC: Journal of New Media & Culture, ISSN 1542-0280, E-ISSN 1542-0280, Vol. 9, no 1Article in journal (Refereed)
    Abstract [en]

    This article aims to discuss the aesthetic quality, visual experience and social practice of the microblog platform Tumblr. Having passed the 100 million blogs mark, the service has been increasingly prominent online since its launch in 2007. Thus, fashion, mass media and memory institutions as well as other more individual forms of visual expression have found the platform particularity interesting as a source for communication and networking. Disputing Jodi Dean’s argument that blogging is an expression of our constantly shifting identities and provoking us to exhibitionism, this article proposes blogging and reblogging on Tumblr as a type of creative curation where digital images and content are in constant flux but always temporarily fixed through the reblog button, re-creating through different contexts and part of identity formations, rather than effects of them. Moreover, fashion is crucial in understanding Tumblr’s appeal, not just by way of the style blogs and fashion focus of the site and the ambiguities of its execution, but also in the very force, which drives the blogging in the first place, a desire or addictive yearning. The platform is arguably unique in providing active user participation through anonymity, dialogue, and alternative spaces for interaction and community with a mixture of attention, production and expression, making Tumblr a central case for the future of content curation online.

  • 32.
    Ehlin, Lisa
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    The subversive selfie: Redefining the mediated subject2014In: Clothing Cultures, ISSN 2050-0742, E-ISSN 2050-0750, Vol. 2, no 1, p. 73-89Article in journal (Refereed)
    Abstract [en]

    This article approaches the selfie debate through questioning the more simplistic view that the selfie is an effect of narcissism and consumption and instead argues that it can be a shared and transformative practice. Drawing from focus group discussions and using the critical thinking of Levinas, Foucault, Butler and Irigaray, I explore the face and the continuous formation of the subject by basing these arguments on the theoretical dismissal of the domination of a (western) autonomous subject-centred philosophy in favour of the Other, striving towards the expressions of the self as vulnerable, rather than self-absorbed. Furthermore, I discuss the selfie from a feminist viewpoint, where this type of media participation creates a potential space for an alternative female experience to emerge. I argue that the selfie opens up for an ability to mimic and play with social roles, pointing towards potential subversion through awareness and agency, rather than self-objectification. Thus, this article concludes with a recontextualization of the selfie as a sensory, communicative and political practice and experience.

  • 33.
    Ehlin, Lisa
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Tumblr and the future of the archive2013In: Communicating the archive: physical migration / [ed] Karl-Magnus Johansson, Göteborg: Landsarkivet i Göteborg , 2013, p. 55-75Chapter in book (Other academic)
  • 34.
    Faggella, Chiara
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Film, Fashion, and the 1960s, Eugenia Paulicelli, Drake Stutesman and Louise Wallenberg (eds) (2017)2019In: Journal of Italian Cinema and Media Studies, ISSN 2047-7368, Vol. 7, no 2, p. 315-318Article, book review (Other academic)
  • 35.
    Faggella, Chiara
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Itinerari di moda fiorentina fra il dopoguerra e la fine degli anni sessanta: dal guardaroba alla memoria storica2016In: Moda, città e immaginari / [ed] Alessandra Vaccari, Milano: Mimesis edizioni, 2016, p. 148-159Chapter in book (Refereed)
  • 36.
    Faggella, Chiara
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Lifestyle and fashion in Mario Camerini’s romantic comedies Il Signor Max and I Grandi Magazzini2018In: Networking Knowledge: Journal of the MeCCSA Postgraduate Network, ISSN 1755-9944, Vol. 11, no 1, p. 56-66Article in journal (Refereed)
    Abstract [en]

    Between the years 1922 and 1943, Italian Fascism revealed quite an ambivalent attitude towards lifestyle. While the regime tried to impose standards of nationalistic moderation, popular entertainment of the time reveals that different aspects of culture never surrendered completely to the diktats of the regime. This article discusses the ways in which two films, Il Signor Max (Astra Film, 1937) and I Grandi Magazzini (Amato-Era Film, 1939) can provide a perspective into the consumer culture of Fascist Italy and its ambivalences. By presenting recurrent references to lifestyle commodities and fashion, the experiences of consumption in the two films take center stage in spite of the regime’s campaigns for modesty.

  • 37.
    Flodin, Emmi
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    The Second Skin: A study on the relationship between clothes and human bodies2019Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    Clothes are the second skin on human bodies. By coming in contact with humans, clothes become a part of the body. Through the contact, clothes affect and enable human actions. This thesis investigates the relationship between human bodies and clothes by conducting interviews and wardrobe studies. Together with the informants and clothes, the exhibition “Fashioned from Nature” from The Victoria and Albert Museum is partly analyzed. The material is being interpreted in a critical analysis through theories on material agency and skin. The analysis turns to the culture and nature dualism, in order to highlight the neglected physical agency in clothing. Clothing’s agency is both physical and aesthetical. Neither of the aspects can be subordinate, nor superior, since clothes consist equally of both. Following the theories, clothing’s agency is being acknowledged through the encounters with humans. However, the results in this thesis show that clothing’s agency is ever present.

  • 38.
    Johansson, Karin
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Undressing the Androgynous Body: Analysing Gender Equality in the Representation of Androgynous Bodies within Contemporary Swedish Fashion2017Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    Stemming back thousands of years, the term androgyny continues to raise uncertainty regarding its definition in contemporary society. Simultaneously, the term has come to represent a body ideal and fashion that signals gender equality. Analysing gender equality in relation to androgyny, the aim of this study is to address power relations within gender in the construction of androgynous bodies in contemporary Swedish fashion. Building on feminist theories by Judith Butler and Luce Irigaray; along with Pierre Bourdieu's idea of habitus and Sara Ahmed's ideas, questioning what is considered natural, the historical connection between the straight male body as representation of a standard, gender-neutral body is highlighted. Through visual analysis of campaign images produced by Acne Studios, Filippa K and Tiger of Sweden, the masculine domination of the androgynous ideal is revealed and further problematized using focus groups and separate interviews to include consumers and retail workers, in order to answer the questions; how the androgynous body is represented in contemporary Swedish fashion, and in what ways the androgynous body represents gender equality versus inequality. Although the results show that androgyny questions traditional gender roles and encourages to express individuality in dress, the ideal also prioritizes the masculine, using the male straight body as sign of a gender-neutral and thus natural human body, making the female curvaceous body appear unnatural and sexualized.  

  • 39.
    Kaza, Djina
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Decoding the Dress: Reading features of costume design in films of Emir Kusturica2016Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    This thesis considers fashion and cinema as crucial embodiments of Yugoslavian culture. As such, it gives a shine to the potential inherent in film costume for the historical analysis of Yugoslavian national identity and its politics. The focus is on the semiotic analysis of costume design in two native films by Emir Kusturica: When Father Was Away on Business and Underground. Social relations are investigated through the lens of a critical theory, with particular interest in questions of gender, violence, and sexuality. Taking the idea from a critical theory - that power constitutes all human relations - this thesis considers dress as a core symbol for performing power in Yugoslavian society.

  • 40.
    Kollnitz, Andrea
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Receptionen av tysk och österrikisk modernism i Sverige 1900-19352013In: Konsten och det nationella: Essäer om konsthistoria i Europa 1850-1950 / [ed] Martin Ohlin, Stockholm: Kungl. Vitterhets Historie och Antikvitets Akademien, 2013, p. 104-123Chapter in book (Refereed)
  • 41.
    Kollnitz, Andrea
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    The Devil of Fashion: Women, Fashion and the Nation in Early-Twentieth-Century German and Swedish Cultural Magazines2013In: Fashion in Popular Culture: Literature, Media and Contemporary Studies / [ed] Joseph H. Hancock, Toni Johnson-Woods, Vicki Karaminas, Bristol: Intellect Ltd., 2013, 1, p. 227-241Chapter in book (Refereed)
  • 42.
    Kollnitz, Andrea
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Under påverkan: om fransk och annan "utländsk" konst i 1910-talets svenska konstdiskurs2014In: Inspiration Matisse! / [ed] Anna Meister, Daniel Prytz, Karin Sidén, Stockholm: Carlsson Bokförlag, 2014Chapter in book (Other academic)
  • 43.
    Kollnitz, Andrea
    et al.
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Wallenberg, LouiseStockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Modernism och mode2014Collection (editor) (Other academic)
    Abstract [en]

    I Modernism och mode diskuteras modets starka och mångfacetterade betydelse för modernismen och dess olika uttryck under perioden 1900-1960 i tio icke tidigare publicerade essäer författade av såväl svenska som internationella forskare. Boken, som är den första omfattande svenska publikationen i ämnet, visar hur mode inom modernismen ges en uttalad och proklamerad position som konst under en tid då den kommersiella modeproduktionen mer och mer kopplas till massproduktion och -konsumtion. Boken belyser bland annat Isaac Grünewalds och Sigrid Hjerténs modemedvetna själviscensättning, modedesignern Jean Patous kreationer mellan konst och business, Elsa Schiaparellis surrealistiska modedesign, modets roll inom den italienska futurismen och ryska konstruktivismen, Magos modernistiska filmkostym, filmen som modernistiskt allkonstverk och modets filosofiska betydelser i förhållande till modernism och modernitet.

  • 44.
    Koskinen, Maaret
    et al.
    Stockholm University, Faculty of Humanities, Department of Media Studies.
    Wallenberg, LouiseStockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Harry bit för bit : Harry Scheins många ansikten2017Collection (editor) (Other academic)
  • 45.
    Laakkonen, Viivi
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Finland's Biggest Dress Party: A Study of the Role of Women's Appearances at the Independence Day Reception2018Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    Finland’s Biggest Dress Party – A Study of the Role of Women’s Appearances at the Independence Day Reception, aims to understand the role of dresses at Finland’s Independence Day Reception by focusing on how the reception has earned a title “Finland’s biggest dress party”, and meanings behind the dresses. The aims are studied combining fashion and media studies in three analytical chapters focusing on the media’s development and influence, how the dresses work as a communication tool and what kind of messages are sent through dresses, and Finnishness and national identity in the dresses. The chapters are linked to each other by the importance of the communication between the dresses, the media and the audience during the hype around the Independence Day Reception. The study is based on interviews, which were conducted with seven reception guests and three dress designers, archival studies, visual culture studies and (fashion) media discourse. The study draws on theories by Roland Barthes, Malcolm Barnard and Erving Goffman.

  • 46.
    Labrague, Michelle
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Patagonia, A Case Study in the Historical Development of Slow Thinking2017In: Journal of Design History, ISSN 0952-4649, E-ISSN 1741-7279, Vol. 30, no 2, p. 175-191Article in journal (Refereed)
    Abstract [en]

    This article traces some of the historical roots of 'slow' through changes in ecology, design thinking and practice and implications for fashion and design histories. It sees 'slow', as present in slow design and slow fashion, as a contemporary idea that marks renewed interest in sustainability debates whilst indicating additional shifts since the second wave of environmentalism in the mid-twentieth century. As fashion and design history expands to incorporate environmental history, this article presents a historical case study of the material culture of the American activewear brand Patagonia. Their logo and early catalogues highlight some of the tensions between the differing schools of ecological thought and the problems presented by applying those values to design and sportswear practice. Similarly, sustainability has been linked to a variety of issues from environmental preservation and waste to sweated labour. Therefore, this article uses slow and its focus on locality and mindfulness as theoretical touchstones for environmental thinking in the histories of design and fashion.

  • 47.
    Lunden, Elizabeth
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Oscar Night in Hollywood: Edith Head and the Emergence of the Academy Awards Fashion Pres-Show2015Conference paper (Other academic)
  • 48.
    Mardell, Emma
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    "Questioning the boundaries between fast- and slow fashion"2018Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
  • 49.
    McNeil, Peter
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    A cultural history of dress and fashion in the age of Enlightenment2017Collection (editor) (Refereed)
  • 50.
    McNeil, Peter
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Alchemical Power. On the Duchess and the Ladies who Lunched2013In: Vestoj: The Journal of Sartorial Matters, no 4, p. 17-26Article in journal (Other academic)
    Abstract [en]

    The power of fashion clothing to attract attention has never been so pervasive, but its meaning has changed. What once seemed unobtainable and was achieved via years of aesthetic and personal ‘training’ sits on a stage quite different from that of the inter-war years. This world disappeared with the Second World War, despite various attempts to revive it in the fashions and entertainments of the 1950s and its mythological reflection in Hollywood films of that era. The essay reconsiders the infamous essay by Truman Capote; a part of his unfinished novel Answered Prayers, published as La Côte Basque 1965 in Esquire in 1975.

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