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

This research aimed to understand the role of identity and clothing consumption in the capsule-wardrobe adoption process. A qualitative study has been developed with thirteen women who have adopted the capsule-wardrobe. Semistructured interviews and content analysis have been applied to collect and explore the data. Based on the findings, a diagram of the capsule-wardrobe adoption process has been proposed. The results indicate that capsule-wardrobe adoption process is intrinsically related to changes in the identity and clothing consumption of its adopters. The role of identity in this process was perceived through a transition from focusing on social identity to focusing on personal identity. Therefore, with the capsule-wardrobe adoption, “you wear what you are”. As research limitations, we mention the connection failures that have sometimes interrupted the interview flow. As managerial implications, we suggest that retailers and other companies might adapt or develop appropriate marketing strategies for this new segment of consumers: capsule-wardrobe adopters. For instance, products focused on durability and high quality (e.g., slow fashion) would be an alternative to reach those consumers. Slow fashion brands might focus on the connection between personal identity and fashion consumption as a visual representation of the individuals’ self (i.e., the “you wear what you are” idea) in their campaigns. Finally, this study contributes to the academic field as it proposes a diagram regarding thecapsule-wardrobe adoption process. It also contributes to the literature of studies on consumer identity projects in Consumer Culture Theory from the association of identity with clothing consumption.

A fashion documentary that narrates the creation of a model agency in Favela do Jacarezinho, north of Rio de Janeiro city. The fashion shows that have, in recent years, diversified the colors, traits and textures of the bodies that compose them. The idea of the “law of peoples”, which Achille Mbembe develops to say about the places that are given to each body in the colonial division of the world. The Multinaturalism that, offered by Eduardo Viveiros de Castro,appears as a counterpoint to Western multiculturalist modes, and brings the Equivocation as a possibility of multiple voices in place of univocal discourses of the world. Ailton Krenak and Denilson Baniwa, with the cosmologies of their peoples that awaken the desire to understand the phenomena of the West through other perspectives. Aparecida Vilaça and the accounts she offers us about the shamanism of the Wari’ people. The idea of worlds’ translation, present in some indigenous cosmologies, comes as an alternative to thinking about Western phenomena. It is at the junction of all this that this writing stands. An attempt, an ongoing exercise to look at the arrival of peripheral bodies on fashion catwalks, inspired by non-westernized ways of understandingthe world and its relationships. A hopeful proposal for new readings and appropriations of the world, which meet the ethical, aesthetic, political and sensitive calls of today.

This article aims to develop a philosophical reflection on the meanings of denudation based on a case study of the concert outfits designed by Fábia Bercsek for the performance of Laura Diaz, lead singer of the musical independent group Teto Preto. In dialogue with the discussions undertaken by Giorgio Agamben on nudity and Paul Zumthor’s notion of performance, we observe how clothing can be placed as an agent to frame and re-signify nudity in the performance context. As a corpus of analysis, we list three outfits used in scene and analyze their modeling, their dynamics and their meanings in relation to the body dressed-space-spectator triad, which we propose as an analytical model. As a result, we highlight the possibilities and political potential of Fábia Bercsek’s outfits, considering the modeling, the reading of gender and the tensioning of the nudity/dress apparatus.

Our reflection tends to put into perspective an organic vision of the city through the relationship body-fashion-urban space that focuses on a visual attention made of looks, observations and images. Understanding this relationship means identifying signs, symbols and codes that constitute and particularize the urban atmosphere showing an aesthetic experience of the city and social life. Through various examples ranging from the particularization of clothing styles, to the Instagram phenomenon as a form of display, to corporeality, pop culture particularity and urban aesthetic zones, the aim is to show the forms of the visibility of a process of aestheticization of life and the city characterising the spirit of our time.

The aim of this article is to discuss monstrosity and humanity in their relationship with the costume, arguing that clothes are fundamental not only to the social delineation of human, but also for the demarcation of what is a monster. So, monsters and humans can be thought as sketches. For this, will be used the sociological view of fashion and monster studies, establishing a dialogue between the two areas. The text ends by stating that both notions are inseparable from the clothes that cover them.

Pop was the first magazine specifically aimed at Brazilian youth, having circulated between 1972 and 1979 by Editora Abril in the midst of the civil-military dictatorship. The magazine dialogued with behavioral transformations driven by the counterculture and some social movements to shape a representation of “cool” youth in an attempt to attract boys and girls, especially from the white middle classes, acting as a reference for the construction of youth identities. On this account, as bodies do not have fixed or immutable borders, they are socially produced in interaction with the world, and therefore there are no bodies that do not appeal to technologies, including fashion. Therefore, we aim to analyze, from a gender perspective, how the “do it yourself” practice linked to hippie fashion in Pop magazine expanded and/or reiterated the limits for the construction of bodies. For this, we resort especially to Gender Studies, Cultural Studies and the History of Fashion. The analyzes indicate that the fashion has extended the limits for the construction of bodies, although Pop has triggered references associated with traditional models of femininity and masculinity.

The purpose of this research was to understand the social meaning of skirt consumption in the 21st century for women of different religions. Therefore, the theoretical foundation includes the theory of fashion, exploring its concepts and its history, understanding it as a cultural phenomenon that reflects society and its characteristics in each time. A brief history of how the female skirt and its meanings have been changed over time was presented, mainly analyzing its influences and roles in society. As for the methodological procedures, this is a qualitative, descriptive and cross-sectional research. For data collection in the first stage, 13 semi-structured interviews were carried out, which were complemented by photos of the looks of the day, recorded over 10 days by the interviewees, thus allowing the analysis of how women used these skirts. Starting from the importance of social interaction for the construction of the meanings of consumption that are socially shared. For data analysis, categorical content analysis was used. As main results, nine main meanings attributed to the consumption of female skirts stand out, namely: feminine expression; elegance; religiosity; socialization and belonging; seduction; shame; comfort; versatility and vulnerability.

DIY constitutes a differentiating way of personal expression, in contrast to the mainstream and is commonly linked to alternative cultures. This practice shows a discrepant character caused by a rebellious opposition to the majority currents, through the creation of its own cultural products. Cool individuals often make their own cultural products spontaneously. Coolness is a quality possessed by some people who resist traditional customs and create a new pattern. Because this level of individuality and spontaneous creation is not achieved by everyone who makes products through DIY. The objective of this manuscript is to define this quality of cool to understand these personal manifestations in opposition to the conventional and to understand the reason that will make them be desired by the public. The methodology is a diachronic bibliographic review by analysing the meanings of dictionaries and the explanations offered by authors in books, manuals, articles, and theses in various languages. The article located and analysed definitions of the concept of cool and its evolution from its origin in the United States in the 40s of the 20th century, in various countries, to its implementation in the language of trends and fashion.

Canadian duo Fecal Matter is the best-known representative of a type of extreme drag that has been gaining popularity on social media since the late 2010s. Using prosthetics, makeup, self-made clothing and digital image manipulation, the duo creates high-impact fashion photographs which clearly strive towards post-human forms of corporality, blurring the boundaries between organic and inorganic, masculine and feminine, animal and vegetable. Using the figure of the cyborg as proposed by Donna Haraway (1991) and Paul B. Preciado’s notion of “biocodes of gender” (2018), as well as photography and fashion theory, I analyze a few images posted on Fecal Matter’s Instagram account. Through them, I view fashion as an ambiguous apparatus: while it produces normative masculinities and femininities, it is also in constant opposition to the notion of a fixed identity, working as a cyborg tool for unrealizing gender, the body as an organic whole and the primacy of the human.