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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.
    Barbarella: 50 Years of Space Age2018Conference paper (Other (popular science, discussion, etc.))
  • 6.
    Castaldo Lunden, Elizabeth
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Comunicación responsable de la violencia de género2016Conference paper (Other academic)
  • 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.
    From Scarcity to Abundance: How Digitized Material Demands Academic Cooperation2017Conference paper (Refereed)
    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?

  • 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 “Paco Rabanne Myth”: How Archival Research Can Help Us Deconstruct Celebrity Discourses2016Conference paper (Other academic)
  • 12.
    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.))
  • 13.
    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)
  • 14.
    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.

  • 15.
    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]

    Cuerpos de emulación pecuniaria: Estrellas de Hollywood como elemento homogeneizador de la femineidad e identidad nacional en los Estados Unidos 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.

  • 16.
    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 adoration 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—the 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. A parallelism between these two figures draws 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.

  • 17.
    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)
  • 18.
    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)
  • 19.
    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)
  • 20.
    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 (Refereed)
  • 21.
    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.

  • 22.
    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.”

  • 23.
    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.”

  • 24.
    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)
  • 25.
    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)
  • 26.
    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.

  • 27.
    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.

  • 28.
    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)
  • 29.
    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)
  • 30.
    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.[1] 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.

    [1] The use of the capital ‘f’ is employed to specifically indicate the totalitarian regime led by Benito Mussolini, which occurred in Italy between the years 1922 and 1943, and to distinguish it from additional national variations (e.g. Spanish Falangism).

  • 31.
    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.  

  • 32.
    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.

  • 33.
    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, 1, p. 104-123Chapter in book (Refereed)
  • 34.
    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)
  • 35.
    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)
  • 36.
    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.

  • 37.
    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)
  • 38.
    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.

  • 39.
    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.

  • 40.
    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)
  • 41.
    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)
  • 42.
    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.

  • 43.
    McNeil, Peter
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    'Beauty in Search of Knowledge': Eighteenth-Century Fashion and the World of Print2017In: Fashioning the Early Modern: Dress, Textiles, and Innovation in Europe, 1500-1800 / [ed] Evelyn Welch, Oxford: Oxford University Press, 2017Chapter in book (Refereed)
  • 44.
    McNeil, Peter
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    "Beyond the horizon of hair": masculinity, nationhood and fashion in the Anglo-French Eighteenth century2013In: Hinter dem Horizont, Band 2: Projektion und Distinktion landlicher Oberschichten im europaischen Vergleich, 17-19. Jahrhundert / [ed] Dagmar Friest, Frank Schmekel, Aschendorff Verlag, 2013, 1, p. 79-90Chapter in book (Refereed)
    Abstract [en]

    Fashion is a distinctive format as it is both an economic product and a part of the imaginative horizon. It exists in a double register of material actions and also in its representations. The wearing of false hair in replacement of one’s own is a cultural act that was transformed from the social requisite of an élite to a more individualised consumer choice over the course of the long-eighteenth century. Worn almost universally by men in England and very widely in France by the early-eighteenth century, the wig was offered in a variety of formats and qualities, and was constantly subject to fashion change and also innovation in design. Over the course of the century changing priorities about health, science and also aesthetics became allied with notions of comfort and convenience, meaning that the wig did not become ‘old fashioned’ but rather was ‘re- fashioned’ in new ways. Even at the time when the wearing of one’s own hair was gaining currency in the 1760-1770s, ‘fashion’ created new tastes for very high toupées, long tails and particularly mannered appearances for male wigs. Although wigs represented a cost, the hair of young men could likely be modified or amplified with false hair in order to appear fashionable. This paper will present aspects of the evidence that survives for this practice, as well as speculating at length on what the hairstyles might have meant or inferred. In this way, the chapter will consider both a social, bodily and material culture practice – hairstyling and hair-pieces – with broader social, psychological and cultural meanings.

  • 45.
    McNeil, Peter
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Caricature and Fashion- History of Mockery2013In: Reproduction, Representation, and Communication: Print Culture 1600-1900 / [ed] Kei-yin Huang, Taipei, Taiwan: National Yang-Ming University , 2013, p. 35-56Chapter in book (Refereed)
    Abstract [en]

    English Version of Italian Article: McNeil, P.K. 2010, 'Caricatura e moda: storia di una presa in giro' in Muzzarelli, M.G., Riello, G. & Tosi Brandi, E. (eds), Moda. Storia e Storie, Bruno Mondadori, Milan, pp. 156-167 

  • 46.
    McNeil, Peter
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Conspicuous Waist: Queer Dress in the "Long Eighteenth Century"2013In: A Queer History of Fashion: from the closet to the catwalk / [ed] Valerie Steele, New Haven: Yale University Press, 2013, p. 71-107Chapter in book (Other academic)
    Abstract [en]

    Why do many young gay men wish to appear thin, rich and pretty? What are the precursors for this way of being in the world? Why does society blame gay male designers for extreme female fashion trends? How do persecuted minorities manage their identity via clothing and fashionable looks? These are big questions indeed. They can be tested in part through an historical overview and a series of case studies.

    This chapter will examine the tantalising but difficult hypothesis that ‘gay style actually sets trends. It’s what straight people take fashion from’. Richard Martin proposed this in his short article ‘The Gay Factor in Fashion’ in Esquire Gentlemen, 1993, when he argued that gay male influence in the refining and defining of masculine style ‘by dint of their attraction to their own gender’ had never been more pronounced than in the street style of that period: ‘Straight suburban males in recent years have absorbed gay style signatures, including earrings and bandannas, and are now often indistinguishable from the gay clones of the 1970s... Christopher Street is our sartorial Ellis Island’.

    But ‘gay fashion’ before that point was often far from butch. This overview begins with the development of sodomitical subcultures in early-eighteenth century western Europe. Much is known of their fashionable taste including extreme colours, clashing colours and patterns, and sometimes cross-dressing. The chapter goes on to examine the function and tenacity of the aristocratic dress codes of the fin-de-siècle dandy which were adopted by numerous queer men until the 1960s.We still see this being played out in the generational conflict in the film The Boys in the Band (1970).  These Wildean strategies survive, what Alan Sinfield in his The Wilde century : effeminacy, Oscar Wilde, and the queer moment (1994) called the constellation of ‘effeminacy, leisure, idleness, immorality, luxury, insouciance, decadence and aestheticism’. As well as suggesting difference and excess, aristocratic dress codes might also have been adopted as the suggestion of wealthy assurance could excuse eccentric behaviour considered ‘other’. The corollary is the inter-war mannish lesbian such as the artist Gluck, whose eccentric but purposeful adoption of male dress in public was a privilege of her great wealth.

  • 47.
    McNeil, Peter
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    'Donald Friend (1915-1989) 'Love Me Sailor' 1949'2013Other (Other (popular science, discussion, etc.))
    Abstract [en]

    Catalogue entry on a painting concerning literary censorship painted by Australian artist Donald Friend in the remote town of Hill End, 1940s.

  • 48.
    McNeil, Peter
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Georg Simmel: the ‘philosophical Monet’2014In: Thinking through fashion: a guide to key theorists / [ed] Agnes Rocamora, Anneke Smelik, London: I.B. Tauris, 2014Chapter in book (Refereed)
  • 49.
    McNeil, Peter
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies. University of Technology, Sydney, Australia.
    Ideology, Fashion and the Darlys’ "Macaroni" Prints2015In: Dress and Ideology: Fashioning Identity from Antiquity to the Present / [ed] Shoshana-Rose Marzel and Guy Stiebel, Bloomsbury Academic, 2015, p. 111-136Chapter in book (Refereed)
    Abstract [en]

    As John B. Thompson notes, the concept and theory of ideology ‘first appeared in late eighteenth-century France’ via the thinking of the PhilosopheDestutt de Tracy[1] and has come to mean ‘systems of thought’, ‘systems of belief’ or ‘symbolic systems’ which pertain to social action or political practice’.[2] Central to the study of ideology is the rise of ‘mass communication’ and its relationship with the state. Writing mainly regarding the influential role of the press in twentieth-century life, Thompson acknowledges its seventeenth and eighteenth century precursive forms and remarks that ‘[t]he reproducibility of symbolic forms is one of the key characteristics that underlies the commercial exploitation of technical media by institutions of mass communication, and the commodification of symbolic forms which these institutions pursue and promote’.[3]If ideology is promulgated by and within mass communication and viewing positions, how then are we to interpret the matter of looking at an eighteenth-century caricature? How might an ideological effect work within what was considered a ‘low’ art form? What was the caricature’s relationship with ‘high art’? What intensity of viewing is necessary – how many people need to be able to ‘see’ - for there to be an ‘ideological’ impact? Is there a concrete difference between the reception of a political caricature, and one concerning manners, such as arose in very large numbers in the last third of the eighteenth century in England? How can we determine the ideological function of eighteenth-century printed satires of fashion? What was the ideological role when observed of the ‘witty expressions and humorous sallies’ that were a popular consumer item, as d’Archenholz observed of the many such broadsheets being sold in the streets of

    [1] John B. Thompson, Ideology and Modern Culture: Critical Social Theory in the Era of Mass Communication (Stanford: Stanford University Press, 1990), p. 2.

    [2] Thompson adds: 'For social life is, to some extent, a field of contestation, in which struggle takes place through words and symbols as well as through the use of physiscal force.' Ibid., p. 10.

    [3] Ibid., p. 166.

  • 50.
    McNeil, Peter
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    ‘Movement and Pep’: Re-animating the Duchess of Windsor’s clothing fashions2013In: Mode und Bewegung: Beiträge zur Theorie und Geschichte der Kleidung / [ed] Anna-Brigitte Schlittler, Katarina Tietze, Berlin: Gebr. Mann Verlag , 2013, p. 57-68Chapter in book (Other academic)
    Abstract [en]

    Between the wars the Duchess of Windsor  (1895/6?-1986) was a quintessential female sartorial modernist. It was an image built on a type of obsessive discipline and iteration of gestures and actions in ‘appearing’ and also in managing a household – ‘she was always in control’, noted her friend Carol Petrie. Photographic and drawn representations of her by Man Ray, Cecil Beaton and Horst played a role in disseminating new silhouettes and profiles for modern women. Yet these images are frozen, and they drain the kinesic element of wearing garments for which she was notable. The Duchess of Windsor brought her clothes, which now hang as empty relics, into a range of animated performances, which can be reconstructed through film, photography and memoirs. The jewellery collection, the sale of which reinvigorated her fame after her death, constituted a type of endless writing over the body, being inscribed with private messages in the prince’s hand-writing by the jeweler-engravers. Their technical and aesthetic innovation lay in their ability to move, to be flexible and pliable, to mould to her clothes and her body. Her initials and quasi-royal cipher were embroidered onto both inner and outer clothing, and incorporated into the structure of her dwelling spaces. This paper will relate the modernity of the Duchess’ sartorial movement to more archaic and emblematic poses. Perhaps her appearance was so compelling because it linked her contemporary life to early-modern traditions of personal jokes and personal allegiances reiterated through the wearing of clothes, craft practices and gift exchange. 

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