Mediating Modesty: A symposium at the London College of Fashion

by Ana Carolina Minozzo. Satin Wrap Band Snood by Maysaa

Earlier this summer, a crucial step in the innovative research in the field of fashion studies took place in London. A one day symposium ‘Mediating Modesty: Fashioning Faithful Bodies’ presented the conclusions and opened a space for discussion after a year of studies conducted by the ‘Modest Dressing: Faith Based Fashion and Internet Retail,’ a research project, which operates as a platform of multidisciplinary intellectual interchange on the topic of modest dressing.

Professor Reina Lewis, from the London College of Fashion, has been conducting ongoing research on gender, ethnicity and orientalism. During her investigations, she came across issues relating to Western, especially European, attitude towards Muslim women. “They dress differently, they cover their bodies differently and that is seen as a controversial political symbol by Western and European society...and rarely as a fashion statement, although they adorn themselves and consume fashions as much as any other group” comments Professor Lewis.

According to Lewis, religious women, especially young Muslim women, are also consuming fashion, and their consuming behavior has changed in relation to the internet. Those girls are also part of the religious revivalism movement that we witness at present, which generates specific social impact that is worth analyzing. ‘I became interested in expanding these questions I encountered to Christian and Jewish communities. They also share this juxtaposition of ways of dressing in contrast with the secular world’, adds Lewis.

She was then joined by Dr Emma Tarlo, from Goldsmiths College and the researcher Jane Cameron and, in February of 2010, the idea had a shape and a name. She explains: ‘We wanted to look at the internet for it being a space of crossing boundaries of faith and territory. It is a deterritorialised and dematerialised sphere, which offers the possibility for a new type of dynamics’. In her own words, the internet ‘allows to torn apart the binary divide between the religious and the secular worlds’, and this perspective guided the variety of points studied and analyzed through the last year, which were discussed during the symposium at the London College of Fashion.

This month, the papers presented during the event as well as a podcast with the complete coverage of what was talked about became available online, on the page of the Religion & Society organization. You can download all this information here.

You can also find a brief summary of the symposium below, with an introduction to the work of each of the invited readers from England, Europe and the US.

Teenage Girls in London, Photo by Ana Carolina Minozzo

The day began with Professor Frances Corner, the Head of College at LCF, welcoming the participants and stressing the relevance of addressing the concept of ‘sustainability’ in Fashion. Social sustainability must also be in our agenda, by which we should consider diversity and inclusion, the consumer sustainability. At that very moment, the relevance of what was about to come was set and from then on, a rich and energetic exchange took place.

Professor Reina Lewis was the first to share her findings with the audience. She drew on the internet’s capacity of presenting fashion solutions, challenging spacial and cultural constrictions and permitting a dialogue between women from different communities and religions. This ‘deterritorialized’ platform of discussion that are blogs and general websites of e-tailing are sometimes informed by a religious spiritual mission. Such arguments add to the seeming contradiction found in the relation of modesty, beauty and fashion. The last carrying with it the necessity of being ‘the first’, ‘the most’ as well as ideas of exclusivity and competition.

However contradictory certain websites and forums may seem, their cultural impact is remarkable. Through the cross-faith online debate, a fragmentation of the religious authorities is noticed, as well as changes in the religious discourse itself. A challenge of the male authority, in some cases, is also present, by means of the new access to power given to women through such virtual platforms.

Issues surrounding Muslim modesty dressing, specifically, were further explored by Annelies Moors, from Amsterdam University. She stressed that modest dressing is also considered a religious practice in itself, a form of worship which allows a social connection with ‘equals’ united in faith. In the case of Islam, dress codes are related to its public evaluation, especially when Islam is a minority group, and it had a strong and meaningful role through different moments in history. Moors also questioned the concepts of ‘modesty’ in different communities, which vary from humbleness, chastity, and purity to not resembling a man. Techniques used to produce this particular identity, of the modest self, were discussed alongside the greater question of how god and the community influence one’s ability to make choices.

The Muslim modesty debate was then discussed together with Jewish modesty and the online encounters of these two faiths was the subject of Emma Tarlo’s research. Parting from the idea of segregation and differentiation inherent to a faith-based dress code, the actual concern of women to buy only from shops or brands, which correspond, to their religious group was questioned. By means of a through analysis of the online inter-faith dialogue, Tarlo recognized certain recurrent topics of discussion such as: the value of modesty as a female attribute; gender differentation; sex only within marriage and the idea of attractiveness versus the ‘sexiness’ of fashions.

Transporting the audience to the US, the day’s conversation was joined by Barbara Carrel, from the City University of New York, who focused on New York based community of Hassidic women in her research. This very interesting group of women have strong shopping habits and, although their outfits may look like they are ‘all the same’ to outsiders, a rich variety of embellishments can be found in the way they adorn themselves. The Bobover women were carefully studied by Carrel, who managed to analyze their dress code in contrast with secular fashion and also on contrast with other orthodox Jewish groups. The modest dressing regulations, in this case, contribute not only aesthetically to the formation of a group identity, but also mark a form of protection towards the ‘dangers’ of a secular society which lives by a distinct ethos. A negotiation of fashion, taste, tradition and faith is constant in the life of a Bobover woman, who will chose to adapt (or not) certain mass produced garments and reestablish the rules of dressing in faith.

A round up of online forums and an analysis of what sort of questions and interaction is being presented within their scope was read by the researcher Jane Cameron. As an online ethnographer, she spotted recurrent themes in order to clarify the motivations behind dressing modestly. Supported by the anonymity of the internet, women from all sorts of religious and non-religious backgrounds discuss the ‘level’ of modesty of certain garments, swap tips on how to cover yourself or how to be an example to your children whilst exchanging judgment over the most varied current issues which relate to modesty, in general."

Last but not least, Daniel Miller, from UCL, came into de debate to share facts of his ongoing research on denim and connect it with the event’s theme of modesty. Undressing - if this term is allowed here- the semiotic and cultural aspects of denim through history and across the globe, the orthodox Jewish prohibition of the material was explored. For its property of blurring, if not eliminating completely, distinction of class/gender/age and so on, the fabric is seen as a threat to a community that thrives on maintaining itself distinguished from secular people and other group not just in faith, but symbolically as well.

At the very end, we were joined by designers Shellie Slade and Hana Tajima-Simpson founders of Mod Bod and Maysaa UK respectively, in an interesting juxtaposition of academics & their ‘object’ of study. The public had the opportunity to listen to and ask questions to both of the very successful modest fashion professionals, who rose with the internet and still use it as a main platform to express their ideas of faith and creativity.

The discussion, surely, did not come to an end with the closure of the event. Quite the opposite, Mediating Modesty opened the doors of reflection and enticed further debating and thinking over this important contemporary phenomenon.

Ana Carolina Minozzo is a Brazilian-born and London based writer and fashion researcher. She is finishing her BA at the London College of Fashion whilst working as a journalist and working on her first novel.

ARRRGH! Monsters in Fashion: An Exhibition at the Benaki Museum in Athens

by Francesca Granata

Currently on view at the Benaki Museum in Athens is the exhibition "ARRRGH! Monsters in Fashion." The exhibition includes the work of contemporary experimental designers and visual artists, including Martin Margiela, Walter Van Beirendonck, Bernhard Willhelm, Henrik Vibskov and Charles Le Mindu. "Monsters in Fashion" is curated by Vassilis Zidianakis, Creative Director of ATOPOS CVC, a non-profit cultural organization for the promotion of visual culture, which is also based in Athens and was founded in 2003 by Stamos Fafalios and Vassilis Zidianakis.

ATOPOS is unique in its function as an independent curatorial platform which promotes scholarship and organizes exhibitions on fashion and greater visual culture. It fills an important gap for independent curatorial voices and non-profit organizations in the field of fashion curation—a vital and established practice in the field of contemporary art, where organizations, such as Independent Curators International began as early as the 1970s. ATOPOS's touring exhibition "RRRIPP!!! Paper Fashion (currently on view in Melbourne) and the accompanying catalogue greatly advanced the scholarship on the use of paper in the history of fashion, as well as bringing forth novel exhibition practices.

The current exhibition "Monsters in Fashion" promises to do the same, as it was developed with the accompanying book "NOT A TOY: Fashioning Radical Characters," (Pictoplasma Publishing, Berlin, 2011) edited by Vassilis Zidianakis and featuring essays by Valerie Steele (Director and Chief Curator of the Museum at FIT) Gregg Duggan and Judith Hoos Fox (founders of the international curatorial partnership C2), Jose Teunissen (professor at the ArtEZ Institute of the Arts, Arnhem), the anthropologist Ted Polhemus, as well as myself. Hopefully, the exhibition will travel as extensively as the previous one did, and both eventually will be shown on this side of the Atlantic.

I am really thrilled, as I was invited to Athens to speak at the Benaki Museum on the topic of the grotesque in contemporary fashion in conjunction with the exhibition, so a more complete report on the exhibition is forthcoming!

For now I will leave you with some images of the exhibition and the curator's evocative words:

"Characters are abstract and reduced figures with a strong anthropomorphic appeal and bold graphical silhouette. Over the last decade, they have humorously sampled and remixed their way through visual codes and media, confronting the viewer head-on, regardless of cultural background. This aesthetic approach has a strong influence on contemporary fashion and costume design. International artists create playful dresses, avant-garde costumes and hairstyles, re-inventing the human body and sending their monstrous, enigmatic, radical and grotesque new Characters onto the catwalk and beyond. They redefine the relation between body and costume by mixing visual communication codes and questioning the established aesthetic norms."

FASHION CUTS: PUBLIC MEDIA AND THE FASHIONING OF REALITY

Coming up this Tuesday May 10th as part of the Parsons Festival is a panel discussion with Tim Gunn and Scott Schuman:

"From ‘The Fashion Show’ on television, ‘The Sartorialist’ website, ‘Bill Cunningham New York’ the movie, to 'Fruits' the Japanese magazine, fashion is increasingly a visual part of our global reality. What does this mean? Looking at different forms of public and social media, this panel discussion featuring Tim Gunn and “The Sartorialist” Scott Schuman will discuss the cultural significance of contemporary constructions of fashion."

Moderated by Hazel Clark, Dean of the School of Art and Design History and Theory; with an introduction by Heike Jenss, Director of the MA Fashion Studies program.

Second Fashion in Film Festival Symposium

One more symposium on Fashion in Film is is taking place at the CUNY Graduate Center this Monday May 2nd from 5 to 7:30 pm. Among the impressive roster of speakers are Caroline Evans, who will speak on her current research on the early history of modelling and the fashion show.

"Since the emergence of cinema in the late-19th century, the role of costume, fabrics, and fashion has been crucial in conveying an aesthetic dimension and establishing a new sensorial and emotional relationship with viewers. Through the interaction of fashion, costume, and film it is possible to gauge a deeper understanding of the cinematic, its complex history, and the mechanisms underlying modernity, the construction of gender, urban transformations, consumption, technological and aesthetic experimentation.

Jody Sperling will speak on “Loïe Fuller and Early Cinema;” Caroline Evans Michelle Tolini Finamore on “‘Exploitation’ in Silent Cinema: Poiret and Lucile on Film;” and Drake Stutesman on “Spectacular Hats! A New Kind of Identity in a New Kind of Love (1963).” With moderator Amy Herzog and respondent Jerry Carlson."

The symposium which is organized by Eugenia Paulicelli in conjunction with the Fashion in Film Festival is co-sponsored by the Concentration in Fashion Studies, MA in Fashion: Theory, History, Practice in the MA Liberal Studies Program, Film Studies, Women’s Studies and the Center for Gay and Lesbian Studies.

Lady Gaga's Little Monsters...

Some of Lady Gaga's Little Monsters

by Francesca Granata

I recently went to a Lady Gaga concert as part of my research. The most surprising thing about it was the inventive and often DIY costumes worn by her fans. I caught a few of them on camera: a woman wearing a balloon skirt, one in a yellow body suit with Mickey Mouse ears that she self-painted. Someone else constructed Lady Gaga’s staggeringly tall heel-less shoes via an ingenious system of black electric tape, while others rendered more literal imitations of the pop star. Among these were a mother with her little girl, both sporting blond wigs and black leather outfits! Alas, no meat-dress emulator was in the crowd.

The pop star herself wore elaborate costumes, which are by now familiar either through her videos or television appearance.

Jay Ruttenberg—a contributing editor of Fashion Projects and a music critic at Time Out New York, wrote a in-depth review of the concert which praises Gaga’s ability of self-transformation over her music skills.

“Lady Gaga, if the conspiracy is not by now obvious, is the highly evolved master’s thesis of Tisch performance-art scholar Stefani Germanotta, who is currently completing her studies on the transformative nature of a pop, fashion and media phenomenon in the age of social media. Saturday night at Nassau Coliseum, Germanotta came one step closer to obtaining her degree, appearing before thousands of young participants dubbed her “Little Monsters” for the duration of the project”

For the full review and photo of the concert, visit Time Out New York