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

The objective is to analyze the representations of fat female and male bodies in plus size clothing brands, observing the divergences and similarities that act on the identity avenue of size when crossed with that of gender. To this end, posts from the Instagram profiles of four plus-size brands were analyzed: Flaminga, Mais Pano, Kauê Plus Size and Tjama, based on Erving Goffman’s (1979) concept of gender “hyper-ritualization”, the history of the representation of the fat body and intersectional perspectives. The analyses reveal that even though there is an intersection of size and gender identity, it is possible to conclude that the fat models represented in most of the brands still reproduce gender stereotypes and do not explore the other crossings of corporealities, except when these crossings are in the general discourse of the brands.

The objective of this article is to understand the role of family album photographs as memory supports in the clothing creation processes. This work is based on a case study conducted with the independent fashion brand from Curitiba, NovoLouvre, in which methodological procedures for analyzing heterogeneous sources were employed. These sources include interviews granted by the designer Mariah Salomão Vianna and objects from her personal collection, among which are photographic albums and documents related to her creative processes. As a result, we comprehend that photographs act as objectified memories that interact with and are influenced by creative processes, materializing narratives and social prescriptions.

The corset was an object of a new feminine experience that is related to modernity. Between the end of the 19th century and the beginning of the 20th, the corset circulated in women’s bodies, was displayed in stores and shop windows, and was advertised in illustrated magazines. The proliferation of discourses about fashion and periodic changes in clothing had a strong appeal among women. At the same time, the mass production of corsets altered relationships between customers and saleswomen and transformed consumer experiences. Thus, based on the analysis of the corset, we will discuss topics related to the standardization of the female body, pseudo-individualization, intimacy, and tensions between the individual and mass society.

In 1910, on the cusp of the rubber fever that gripped South America, New York photographer Dana Bertran Merrill was hired to document the transnational construction of the Madeira-Mamoré railroad, built deep in the Brazilian Amazon. His camera acted both as witness to, and abettor in, this imperial project of US capitalist expansion and exploitation of South America. Although Merrill was not employed to document the transnational clothing culture of the transient frontier society that sprang up around the construction of the railroad, his commissioned photographs overflow with visual information on dress: what people wore, and how they wore it, documented in extraordinary detail. Turning to fashion offers a revised lens into how Merrill’s predominantly male subjects, who had journeyed to the Amazon from over 52 nations, used clothing to construct their identities and position themselves in relation to one another in the remote and uninviting location. Merrill’s archive provides an unusual case study for the historian to critically evaluate the colonial and neocolonial devaluation of labour upon which early-twentieth century projects of industrial modernity such as the Madeira-Mamoré railroad were predicated. Grounded in the visual analysis of fashion, this article builds upon feminist philosopher Saidiya Hartman’s revisionist method of ‘critical fabulation’, which deviates from traditional historiography in its efforts to overcome significant acts of erasure within the historical record. In bridging the visual and sensory aspects of fashion, it presents new insights into fashion’s histories as well as those of photography at its intersection with global projects of industrial capitalism.

This paper analyzes the disputes, in 18th century Paris, about the production work of women’s clothing and its underlying meanings; specifically, the disputes about who should produce the clothes considered appropriate for women. Thus, we examine the consolidation of justification discourses about sewing and the creation of fashion trends as jobs appropriate for women and which should be preferably done by them. For this, we focus on the dispute between male and female workers for the right to dress women. This is more evident in the case of master seamstresses (maîtresses couturières) and fashion mer- chants (marchandes de modes). In a certain way, the defense of the so-called “needle works” as a female domain meant an ambiguous rearrangement of understanding of sex and the definitions of gender roles. In conclusion, the rhetoric mobilized to defend women’s work changed from an axis of moral discourse, based on its social function and on the protection of the modesty of female consumers, to one based on the definition of work suitable or un- suitable for each sex. Finally, if on one hand there was an expansion of the legitimate work of women, with the recognition in the form of corporations of seamstresses and fashion merchants, on the other hand this expansion was based on the restriction of gender roles that women could play in this sector. Thus, a distinction was made in the affairs of fashion between works considered suitable for women and works suitable for men.

This article seeks to analyze the peak of the phenomenon of dressing boys as "little lords," its decline and disappearance during the first half of the 20th century. This style of clothing became known through the children's book "Little Lord Fauntleroy" by Frances Hodgson Burnett. Two Brazilian publications are used as sources to examine the trajectory of this style: the children's magazine "O Tico-Tico" and the women's publication "Anuário das Senhoras," in addition to Burnett's own book and its representations in theater and cinema. Through these sources, it discusses the patterns of children's clothing (especially for boys) in the first half of the 20th century and the various transformations they underwent. The main references for this study include the works of Philippe Ariès, Jo B. Paoletti, and Gilda de Mello e Souza. Finally, reflections are drawn on how concepts like sweetness, tenderness and beauty, which shaped an ideal of childhood masculinity in the 1900s and 1910s, gradually disappeared and were supplanted by values such as strength and bravery.

This text contains partial results of the project Histórias da Moda, developed with the primary objective of inventorying academic production by and for researchers interested in the relationships between past times and fashion throughout Brazil. The compilation below simultaneously contemplates the broadest conceptions of fashion and of history, bringing together theses and dissertations defended in Postgraduate Programs in São Paulo, from the precursor study by Gilda de Mello e Souza (1950) to those presented in the year 2020. The institutional collections of dozens of institutions were consulted, and more than a hundred relevant titles were obtained. The vastness of digital repositories and the profusion of information available on the internet justify the creation of surveys like this, to assist in the literary review stage of fashion studies. Some preliminary considerations were made about the titles and institutions, and several possibilities for using the results obtained were also observed, whether as part of the “state of the art” of production, or the study of the formation of professional networks established between advisors and researchers.

This work consists of a case study that addresses inclusive fashion for people with visual impairments, having as its addressed issue the development of an inclusive fashion collection through a co-creation method. This question is justified by data that show that there are more than 6.5 million people with visual impairments in Brazil, and fashionas an aesthetic and cultural territory of manifestation must also consider the presence of diverse bodies. The objectives of this research are: to present data on people with visual impairment in Brazil; reflect on inclusive fashion; present the Co-wear functional fashion co-creation method; present a clothing proposal that addresses the self-esteem, practicality, comfort and autonomy of these users without differentiating them from consumers in general, understanding them as part of the fashion market. To achieve this, in-depth research procedures and the development of a fashion collection were carried out using the Co-wear method. Throughout the research we found that even with all the technology on the market, there is still a lot to be explored and studied about inclusive fashion design.

What the novels of Jules Vallès, Octave Mirbeau and Georges Darien have in common is that they cast doubt on the representation of the world offered by contemporary fiction, particularly naturalist fiction. Putting on trial a mimesis deemed deceptive and dangerous, and a language suspected of being partisan and misguided, the three men elaborate, in the crucible of novelistic writing, a style of writing whose aesthetic and political stakes we shall attempt to highlight. We will show that this writing, mobilizing a deeply transgressive laughter, is characterized by an exploration of formal, moral and sociological limits. Playing with the limits of the bearable, tirelessly testing the reader, the three writers make the grimace the basis of an authentic figuration of reality, founded on the accuracy of feeling and the authenticity of anger.

Based on Paul Bourget’s literary development, this article seeks to explore the shift that takes place between his psychological criticism, marked by an awareness of decadence, and his socially-oriented psychological novels, in which the author endeavours to highlight moral laws. The very concept of revolution, which some critics had used to describe Bourget’s novels, takes on a social and moralizing dimension in the psychological novelist’s discourse, which is the strength of his so-called “novels with ideas”. Between a desire for innovation and an anti revolutionary, even anti-modern reaction, Bourget’s novels could be seen as an evolving thought that seeks, as the author points out, to deconstruct the Revolution in order to restore the organic unity of the social body.