In discussing these issues, however, I do not rely solely on a semiotic analysis of images, but focus on an interdisciplinary approach at the nexus of fashion and media studies. The present article considers the body as the interface of sign perpetuations, aesthetic effects and stylistic transformations. As the relationship between fashion and the digital exceeds the physical boundaries and formulates different perceptions over clothing and the body, the concept of fashion is seen here from a perspective within the arts as opposed to the cultural industries. Even though they configure a body that moves away from conventions ruling the actual lived body in urban spaces, these images are a moulding force for individuals. Circulated throughout various media, images establish interconnected relationships extending beyond the urban space, body materiality, or the interplay of habits and representations. One of the difficulties when engaging a topic referring to the relationship between fashion and the body is portrayed by both the plethora of images provided by the fashion industry and the numerous imbrications these images pose throughout digital media. “What happens when fashion transcends or exceeds a strictly formal market based economy and sets up shop elsewhere?” “What is fashion within twenty-first century frameworks as fashion begins to make it’s way into museums, and art begins to appropriate fashion as a medium?” “When fashion is freed from a strictly voyeuristic experience, what does it become?” These issues include designing clothing for wear versus installation, integrating multi media in curatorial work and exhibition filmmaking and media as fashion, formulating new identities in fashion, performance as fashion. We’ll focus on these new positions and creative endeavors, presenting curators, designers, filmmakers, and theorists discussing this evolving visual language. Since the 1990’s fashion has been affected by a continuing wave of post structuralist and performance based work often falling outside of traditional industry constraints. Kathryn Simon, Parsons, The New School for Design, New York Abstract: Through an examination of movements in contemporary fashion this panel sets out to explore happenings in fashion, and its relationship to art within a twenty-first century context, looking at the influence of contemporary culture and a critical analysis of the parallel between art and fashion. Vicki Karaminas, University of Technology (UTS), Sydney, Dr. Valerie Steele, Head Curator, Director, FIT, New York Nathalie Khan, Lecturer, Royal College of Art, London J Morgan Puett, Mildred’s Lane, Pennsylvania Dr. Vicki Karaminas, University of Technology, Sydney, Australia Panelists: Dr. Juried selection College Art Association Annual Conference 2012 Skin: The confluence of art, culture and fashion Chairs: Kathryn Simon PhD, Parsons, The New School for Design, New York Dr. As will be made explicit, the ambiguous meanings and significations of dress act as a perfect alibi for such rejections and violence, as the “shallowness” of fashion makes it much harder for the victim to point toward the transgression and retaliate. Using the mimetic theory of René Girard may help put a spotlight on this dynamic and put scapegoating as a central trope in the othering of the style and person who is considered “out”: an aesthetic form of scapegoating. Or to put it more poignantly, little attention has been put to the human price of the process of trickle-down, to the fact that rivalry, exclusion, and bullying play a part in the demarcation between fashionable and unfashionable, or to the fact that the distinction between “in” and the “out” is as much conceptual as social and spatial. Even if these ideas have been complemented by many other sociological, psychological, and communicative models, imitation is a central trope in the analysis of fashion, yet little attention has been put to the microdynamics of imitation. As sociologist Yuniya Kawamura notices in her book Fashion-ology, early sociologists, such as Veblen, Tarde, and Simmel, all regard fashion as a “concept of imitation.” Even if their specific theories differ, Veblen, Tarde, and Simmel saw fashion as an imitative “flow” most dominantly from the superior to inferior, and this became known as the “trickle-down” theory. It thrives in the pleasures and desires of imitation.
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