Sistema Regional de Información
en línea para Revistas Científicas de América Latina,
el Caribe, España y Portugal

This article examines the phenomenon of transitioning towards sustainability in artisanal fashion businesses, aiming to understand how circular economy initiatives contribute to the sustainability transition process in the artisanal fashion sector in Curitiba. The qualitative, exploratory, and descriptive multi-case study employs two complementary theoretical approaches: circular economy and socio-technical transition to sustainability from a multi-level perspective (MLP). The results indicate that all studied brands have relevant circular economy initiatives in their processes, such as: sourcing from qualified suppliers, reusing waste materials, utilizing discarded materials, employing artisanal production processes, and raising consumer awareness. Additionally, the main challenges and opportuni-ties for the developmentand growth of artisanal brands were analyzed. The findings also reveal that artisanal fashion companies in Curitiba are contributing to the modification of the current regime, seeking feasibility of changes from financial, business, product, and innovation perspectives towards environmental sustainability, while simultaneously fostering the transition to sustainability in the long term.

The aim of this research is to identify tensions present in collaborative practice of fashion design with women artists of the Kaingang ethnic group from the Kamé Kanhru Association and the principles of slow design by decolonial perspective. To this end, a bibliographical research was carried out with application of a semi-structured interview to a Kaingang focus group and the subsequent workshop experience, with the use of photographic and textual records in a field diary. The data collected was analyzed in a descriptive and qualitative-inductive way. As for the results, it was possible on the “Evolve” stage to relativize both the “guiding principles” of slow design and the “structuring pairs” of the subjects involved, as well as to verify both the good receptivity of the visual references by the indigenous artists and the interference of external influences in the social dynamics, habits and cultural customs of this community.

This article presents a theoretical discussion and a critical analysis of the Yawanawá amazonian indigenous people´s relationship with globalization in the political, social and economic spheres. In addition, it explores the dialogue established between this indigenous people and Fashion Design, with a specific focus on its collaboration with the carioca brand FARM, and the implications revealed by this connection. As theoretical references are used the authors Néstor García Canclini, Renato Ortiz and Alberto Cipiniuk, besides being done an analysis of some partnership’s products and their presentation as well as an observation in loco of one of the brand’s international stores. We seek to investigate the dynamics of this relationship as a central object to understand the issue of identity and “brazilianness” as construction and value of differentiation in a fashion product, as well as the discursive power of a brand in the process of internationalization. Through this research we seek to understand how the Yawanawá people position themselves in the face of the challenges imposed by globalization, addressing the social, political and economic impacts that this relationship with the globalized world creates. We also investigate how a brand uses this relationship to generate visibility as well as to demonstrate social responsibility in its discourse and mark its positioning. When considering these aspects, the article seeks to shed light on the complexities of this relationship and its possible implications for the cultural identity of the Yawanawá people and the discursive power of the FARM fashion brand in a globalized scenario.

This paper offers a methodological approach to research Indigenous fashion in Abya Yala, based on the insights offered by recent writings on Native American art. Such methodologies must be rooted on Indigenous systems of thought, forms of conducting research, and ways of knowledge. The relational character of Indigenous systems of knowledge allows for the co-existence of several truths. Moreover, Indigenous people and objects who have been traditionally excluded from the building of academic knowledge in the west must be accepted as academic authorities.This paper proposes centering research of Indigenous fashion on Native paradigms in order to rewrite hegemonic narratives and give prominence to Indigenous people, objects, and worldviews.

In this article I present a little of the pluriverse of the Karajá girls, the ijadòkòma/ijadòma, from a collaborative perspective. I highlight two rituals that mark the beginning and the end of this phase of youth: the transition from “big girl” to young woman, from their first menstrual cycle, the menarche, and marriage, which marks the departure from the period in which one is a young woman. In both celebrations, I talk about garments, paintings and body care. I also present other themes that the ladies brought up, such as the use of cell phones and dating, seeking to contextualize in which people those garments are worn. This is an excerpt from the dissertation “Ijadòkòma itxỹtè: the Karajá girls ‘crazy’ and ‘beautiful as always’” (2019), produced within the scope of the Professional Master’s Degree in Sustainability with Traditional Peoples and Territories (ME-SPT), at the University of Brasília (UnB), with new notes added. The methodology used in the work was action research, a process in which they took the lead in the activities. In addition to the dissertation, the research resulted in two films produced by the ladies.

This article reports the results of an empirical research whose objective was to understand how the exchanges between generations represented by the mother and daughter dyad in the context of Lolita fashion consumption happen. The relationship between mothers and daughters within the Brazilian Lolita fashion community was used as a clipping. As a theoretical basis, the study was supported by discussions concerning the Consumer Culture Theory (CCT) and family studies in the field of consumption. In the data collection phase, interviews were used with 12 women, mothers and daughters. The daughters interviewed were part of the Brazilian Lolita fashion community and were active in the communities. The mothers, on the other hand, were involved with the communities or, at least, were aware that their daughters actively participated in such a consumption grouping. The semi-structured interviews generated data that were analyzed based on the theoretical-methodological assumptions proposed by the French branch of Discourse Analysis. In the discussion of the results, it was possible to observe that the consumption of Lolita fashion occurs mainly online. Other aspects of consumption could also be noted: the interviewees like to make their own clothes, buy used clothes and even borrow items from each other. Key pieces in this work, mothers are mainly companions of their daughters during this consumption journey: giving gifts, giving opinions and even sewing for them.

This article discusses gender normativity based on the investigation of a riding coat from the Eufrasia Teixeira Leite heritage, belonging to the collection of the Casa da Hera Museum, in Vassouras, Rio de Janeiro. Redingotes were men's coats of English origin used for traveling on horseback; Men's tailoring incorporated them into fashion and adapted them to women's clothing in the 18th and 19th centuries. The aforementioned coat, catalogued in the collection as T1140, is from the end of the 19th century, has a traditional redingote structure, although it has adornments that refer to the aristocratic costumes of the Old Regime France. This study seeks to identify this garment as an object that demystifies the binary notions typical of the categorization of so-called male or female. Recognizes historical research as a tool for reviewing personal beliefs about gender roles that tend to consider them as normative. Not all costumes correspond to the fashion of their time, and they could be created for the countless fancy dress balls and parties that were part of the upper class in the 19th century.

At a Candomblé party in a so-called traditional terreiro — more than fifty years old —, a young male visitor wearing a blue headscarf, upon realizing that he was the only man wearing that type of clothing, removes it and spends the rest of the party without the scarf. From this episode, I propose a reflection on the semantic struggle in the discursive aspect of gender identities, in which more or less masculine/feminine ways of dressing are disputed. Although gender performances in Candomblé are not seen from an exclusive perspective of Christian morality, they are influenced by it, and in any case, the circulating ideas about gender exert their influence in candomblé temples, where they are hidden by tradition. Masculinity — structured by and structuring power relations — becomes invisible to those privileged by its constructs, who also acquire a certain status of unquestionability by subsuming themselves into tradition with regard to religious roles, operating a distinction between “traditional candomblés” and “fagot candomblés”. Even though male homosexuality is structural and structuring of the Afro-Brazilian religious field and the flexibility of this field in the face of homosexuality is recognized, not all temples are receptive to the different expressions of homosexuality and, under the aegis of tradition, exclusionary practices are not questioned.

This article seeks to broaden the conceptualization of the dimension of dressing by addressing indigenous clothing as vehicles of symbols, traditions and identities. Indigenous clothing also are part of the (re)existence cultural process, on societies that have undergone colonial processes of genocide. As an ethnographic approach, we will address the production form and representation of the clothing from the Marajoara and Xavante peoples, as well as the necessary adaptations to the urban context. And then place them in opposition to the constructions of the meaning and symbols consolidated in non-indigenous subjectivities, from the colonizing perspective. Through bibliographic research, image collections, oral reports collected in field research in villages and throughout the classes of the Pluricultural Fashion course, at the Ewà Poranga School, we intend to expand the understanding of original clothing and the teaching of pluricultural fashion as decolonial and anti-racist tools that are part of a set of ‘technologies of enchantment’ for the maintenance of the existences of indigenous cosmologies in contemporaneity.

The movement of people in modernized cities in the second half of the 19th century was marked by gender issues, and also class. For example, walking freely through urban spaces was a male gender privilege, while bourgeois women were subject to restrictions at the risk of being defamed. However, consumption practices proved to be a way to expand female access and presence in cities from the creation of department stores that associated consumption and leisure. In this article I intend to show how such events forged feminine practices of consumption and sociability at that time and in the decades to come. To do this, I will analyze advertisements from the Louvre fabric store, from the 1930s and 1940s in Curitiba, Brazil. In order to do that, I will observe evidence of shared meanings between sales practices, consumption and sociability practices in the Louvre and department stores in London, Paris, Rio de Janeiro and São Paulo. In this way, I intend to reflect on how bourgeois women knew how to use consumption, specifically fashion consumption, to circulate through cities legitimately and explain how Louvre worked as a mediator between women and public spaces.