fashion, identity, image (2022)

Paul Jobling, Philippa Nesbitt, Angelene Wong

How has the fashion industry responded to turn-of-the-millennium non-binary identities? Do they have a supportive or exploitative relationship with queer, trans and ageing subjects? Fashion, Identity, Image unpacks these questions and many more in relation to clothing and representation, identity and body politics in British, European and American culture between 1990 and 2020.

Jobling, Nesbitt and Wong explore issues of intersectionality and inclusivity through groundbreaking shows, including Maria Grazia Chiuri's 'We Should All Be Feminists' catwalk show for Dior (Spring-Summer 2017), Alexander McQueen's 'The Widows of Culloden' collection (Fall-Winter 2006), and the role of transgender models such as Oslo Grace since 2015. Looking to the future of our relationship with fashion, there's also an investigation of the android as a redemptive figure in Alessandro Michele's cross-cultural cyborg collection for Gucci (Autumn-Winter 2018/2019) and the impact of the ageing population with analysis of age and memory in work such as Magali Nougarède's Crossing the Line (2002), and pleasure and morality in fashion publicity since the 1990s for the likes of Calvin Klein, D&G and American Apparel.

regard(s) magazine

by the MA Fashion Studies students, The New School, Parsons Paris, 2018

paper presentation –"the 'global' city:
singapore's fashion history deconstructed"

"Dis/Orienting Identity," 3rd Annual Parsons Paris Graduate Symposium, 20th April 2018

This essay traces how multicultural Singapore attempts to construct its fashion identity in the broader context of the global fashion conversation from 1960 to today. Within 52 years of independence, it has become the epitome of modernisation in terms of rapid capitalisation and industrialisation, to earn the title of most expensive city for expatriates to live in for the fourth consecutive year. Despite its first world economy status, its fashion identity, to which its national identity is attached, does not enjoy a similar stability. This essay creates a dialogue between the representations of Singapore in Singaporean fashion media  and in Vogue US, to show how semblances of Singaporean fashion identity are interdependently formulated within this network. These reveal the larger processes of globalisation, hybridsation and (re)indeginisation that manifest in Singaporean dress.

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