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

Pop, the first magazine aimed at teen girls and teen boys of Brazil, was published between 1972 and 1979 by publisher Abril, covering the fashion of the period amongother topics. The magazine, published during the military dictatorship, addressed behavioral transformations of those years driven, in part, by the hippie, gay and feminist movements. We understand that fashion is not a neutral and apolitical practice, but one permeated by worldviews, interests and regulations, which may or may not reiterate social inequalities. Therefore, the objective of the text is to understand how unisex fashion, that circulated in Pop, materialized cultural transformations of the period, questioning and/or reinforcing gender norms. To do this, we analyzed the dungarees, the most prominent unisex piece in the magazine, based on Gender Studies and Cultural Studies and the History of Brazil, Media and Fashion. From the analyses, we verified whether the fashion pieces really worked in a unisex way, framing or not different ways of dressing them when connected to so-called female and male bodies. Furthermore, we also assessed whether or not the productions maintained references to femininity and masculinity, causing gender ambiguities or not.

It is common knowledge that in Western societies, the nineteenth century defined people’s social roles depending on the individual’s biological sex, which means that men and women performed different activities based on the ideals of womanhood and man- hood. In short, men acted in the public spheres of work, politics, economical relations, and other public spaces; in contrast, women used to be responsible for the tasks related to family care, household and keeping with the principles of puritanism, which means they were lim- ited most of the times by the domestic space and its activities. Among the female domestic obligations there used to be tasks related to the clothing of the whole family group, such as washing, bleaching, ironing, sewing – making the garment and fixing it, besides embroidery, were daily activities for women. Within this context and through the close reading tech- nique, we aim to analyze the poem “Don’t put up my Thread & Needle – ” and “To mend each tattered Faith”, by Emily Dickinson (1830-1886), an important voice of the North-American poetry in the nineteenth-century; our literature essay seeks to comprehend how the speak- er uses the semantic field of sewing activities and, therefore, connects to the womanhood stereotype in order to subvert literarily the speech of domesticity and thus represents the artistic process of the poetic writing in the images of the sewing universe.

Based on the Netflix television series Queen Charlotte (2023), this article proposes an analysis of the historical conformation of clothing as a mechanism for maintaining hierarchies and imposing strict social regulations, especially on women. The plot, based on the story of England’s Queen Consort from 1761 to 1818, transports us to a time that, although idealized by fiction, sketches the quality of female drama in European court societies. In particular, it looks at how the fixations and permanences of the logic of sumptuary norms come about. Dress is a determining social act for women who try to reinvent their spaces of existence in the gaps of the aristocratic system. The interpretative analysis is based on the case study suggested by José Luiz Braga and the heuristic method proposed by Carlo Ginzburg, in order to capture clues offered by the diegesis for the reconstruction and understanding of the historical narrative and from the perspective of authors such as Georg Simmel and Alan Hunt.

This work starts from the ways in which subjects and their bodies are produced in order to think about the constitution of models of normality based on heterosexuality and gender binarity. From this foundation, it looks at the production of dissident bodies, subjects who refute these categories, engendering specific modes of constitution, claiming other possibilities for their bodies. In this way, the drag experience appears as a mode of subjectivation which, by appropriating the signifiers present in the fashion system, and the various codes of feminine and masculine available in culture, blurs the boundaries of what a body can do, producing new weaves.

This writing examines the theme of the organization of appearances in the sertão of Seridó, Rio Grande do Norte, between the 17th and 19th centuries. The text is part of our research interests to learn about dressing as a cultural practice and sensitive experience, notably in the spatiality of the countryside in Rio Grande do Norte, with the aim of discussing images and discourses about the masculine and feminine forged in the articulation of the process of conquest of America with the occupation and colonization of the Seridó hinterland. Starting from the scriptural definition of the region and the regional being, we seek in History and Memory to find human subjectivities, drawing inspiration from the concept of gender linked to power relations. As a methodology, we gathered texts from past and present Seridó regionalism authors, in prose and poetry, which were analyzed in the light of theoretical references in the areas of fashion and gender. The reports about the indigenous presence and the arrival of the population of portuguese origin, plus the narratives about black and mixed-race people, seen from historical data and legendary tales, are crossed from the perspective of the organization of bodily externalities. After the analyses, we found that the construction of genders within the context of patriarchal country society took place gradually in everyday life, when collectively standardized dressing/undressing and endowed with singular meanings defined the designs of the masculine and feminine in the sertão of Seridó.

The role of art in the production of knowledge has been increasingly recognized, and the boundaries between art and research, or between art and science, have become somewhat blurred. The same happens with the borders between art and fashion, two fields that have sometimes come to share the same social status or social role. The article explores knowledge produced by trans people through art, highlighting questions about the role of fashion in the construction of corporeality, in search of passability and protection in the face of cisnormative violence. We examine the artistic and research productions of two Brazilian transvestite artists: Maria Lucas, author of the autofiction essay Próteses de Proteção (Protection Prostheses), and Renata Carvalho, whose theatrical monologue entitled Manifesto Transpofágico (Transpophagic Manifesto) is discussed. We believe that this work can contribute to a critical reading of the role of fashion in the search for passability as a cisnormative imposition, in the face of the social violence to which trans people are subject.

This article aims to comprehend the intersection between fashion, gender, and sexuality, specially men’s fashion as a way to express masculinities and the revelation of homosexuality. Faced with this phenomenon, the article also seeks to understand ongoing fashion trends which (re)think clothing’s aesthetic construction as opposed to the gender binary. This is a theoretical study that anchors itself to cultural studies in fashion, gender, and sexuality. Men’s fashion, for a long time, reinforced gender stereotypes that exist in hegemonic masculinity. The ways in which men dress themselves vary due to current norms and change due to societal emergencies of a given historical period. Clothing as a means to express sexual orientation has been used throughout history, by gay men, to create a recognizable image, at times as a code and at times as sociopolitical affirmation. In conclusion, current movements, as the co-ed for instance, signal the need to reassess fashion’s role in assigning gender parameters, in order to show inclusivity towards different ways of expression.

The aim of this paper is to explain some of the practices present in the fashion market in Rio de Janeiro in the 1840s, looking briefly at the following decade, with the fashion designers Mme. Barat and Mme. Josephine as the main focus. During this period, Rio de Janeiro received several immigrants who worked in trades related to the world of fashion. This arrival led to a geographical expansion of fashion designers who began to occupy other parts of the city than just Rua do Ouvidor. Mme. Barat, however, was one of the fashion designers who was still present in the epicenter of nineteenth-century fashion and whose consumers included SS. In contrast to her, we have the fashion designer Mme. Josephine, who had a fashion house in Rua da Valla. To achieve our objectives, we used the periodical press of the period as a basic source of research. Based on this research, we can conclude that women’s work in the fashion industry during the period in question was multifaceted and played a crucial role in advancing the financial autonomy of those involved in this field.

The objective of this article is to analyze the transgressions, complicities and types of agency promoted by Clóvis Bornay based on his costumes in the luxury costume contests of the Rio carnival between the 1930s and 1970s. The analytical focus was on the way in which Bornay combined costumes, makeup, accessories and performances were able to negotiate power relations by manipulating different "transvestisms" of class, race and gender and operating mechanisms to "circumvent" the conventions of gender and sexuality in force in that historical context. Taken as a starting point to think about issues such as sexual and gender diversity in Brazilian society, Clóvis Bornay’s fantasies allowed this dissident body to "inhabit the norm", while at the same time rebelling against it. The research work was based on different strategies: news from newspapers with wide circulation in Rio de Janeiro, such as O Globo and Diário de Notícias; illustrated magazines such as Fatos & Fotos; personal photographs, a documentary about his life and contribution to museology and an interview with one of his daughters.

The aim of this article is to analyse the First Brazilian Fashion Show, which took place in 1952 and was an initiative connected to the Industrial Design course at the Institute of Contemporary Art (IAC) of the São Paulo Museum of Art (MASP), based on an approach to gender and material culture studies. Firstly, we present the objectives of the initiative through a set of photographs found in the archive of the museum. Next, we discuss how gender can be thought of as a framework for analysis and a starting point for research, highlighting the relationship between bodies, practices and objects through historical records. In this way, we intend to propose a reflection on the history of fashion and design, understanding that it is impossible to think of these practices in isolation from the social configurations that permeate them.