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Contents
Contents
Fashion
Editorial 01
Masoud Yazdani
Interview 02
Joseph H. Hancock, II
Face value 06
Maria Mackinney-Valentin
Generating style 12
Toni Johnson-Woods and Vicki Karaminas
Publish with us 20
Interview 36
Andrew Reilly
Read on 41
Fashion
Editorial
Why fashion matters
Masoud Yazdani
Publisher and Chairman, Intellect
1
Fashion
Interview
Joseph talks style and substance
Joseph H. Hancock, II
Editor, Fashion, Style & Popular Culture
relating to design, textiles, production, promotion, ago, and I still find myself wearing these same
consumption and appearance-related products and clothes…fashion really does repeat every 20–30
services. Articles related to history, manufacturing, years.
aesthetics, sourcing, marketing, branding, Not stereotyping, but being a gay man probably
merchandising, retailing, technology, psychological/ also really sensitized my following 1980s fashion
sociological aspects of dress, style, body image and styles. In high school I was pretty much a social
cultural identities, as well as purchasing, shopping outcast so I focused my energies into my studies
and the ways and means consumers construct and working part time at the local mall. I worked
identity as associated to Fashion, Style & Popular for a now defunct retailer called County Seat that
Culture are welcomed. Those papers that address sold all types of big-name 1980s designer jeans such
new teaching methods are welcome as well. as Calvin Klein, Gloria Vanderbilt, Guess, Bongo,
The journal offers a broad range of written Zena, Bugle Boy and Nuovo Industrialé. Eventually,
and visual scholarship and includes works done I went to work for The Gap, where the other sales
through various methods of research. We welcome associates and managers were very encouraging
conceptual, theoretical and translational applied and gave me lots of positive reinforcement. I felt
research in the areas of fashion, style and popular accepted there and to this day I wonder what ever
culture. The journal hopes to stimulate new happened to that group of women, because they
discussions in the fashion disciplines and to push really helped me to develop as a young man. I would
the envelope of scholarship by welcoming new and love to thank them for what they did for me.
established scholars to submit their works.
How do you think fashion is a reflection of the
What do you perceive to be the hot topics in fashion human condition?
and popular culture, and what do you think will be Fashion is an essential part of the human condition.
important over the coming years? I think textiles and clothing surround us so much
I think we are at a very exciting time in fashion that it is impossible to escape them. Did you use a
and popular culture. Right now there are so many coffee filter to brew your coffee this morning? Did
styles on the streets that it is an anything goes you use toilet paper? Did you drive a car to work,
environment. I do see scholars examining those does it have a leather or cloth interior, does it have
individuals and consumers that were once perceived tyres? Did you get dressed today? Are you wearing
as unimportant to fashion. For example, Christina clothes now?! If you said, ‘yes’ to any of these
Lindholm of Virginia Commonwealth University has questions then textiles, clothing and fashion are part
written an excellent piece on ‘the branded abaya’ in of your daily life and therefore are essential to your
our new sample issue of Fashion, Style & Popular existence.
Culture illustrating the importance of the abaya as
fashion in our cultures. In this same issue, Maria Could you tell us a little bit about your forthcoming
MacKinney-Valentin of the Royal Danish Academy projects and what we can expect from them?
of Fine Arts has identified that the new ‘faces of I just completed editing a new book Fashion in
fashion’ include models that are disabled, geeky, and Popular Culture (see page 22) that is really meant
transsexual, exemplifying mass changes in fashion to be a prelude to the journal. It was done with my
and popular culture. Fashion and style are becoming two colleagues Vicki Karaminas and Toni Johnson-
extremely diversified and will continue to become Woods. My next project is a book that I am writing
more so…I want this journal to be a part of this with my colleague Clare Sauro at Drexel University.
phenomenon. We are doing a wonderful coffee-table style
academic book titled Jeans (Berg Publishers, 2015).
What first attracted you to the world of fashion? It is both a cultural history and a contemporary look
Like many young folks, I was attracted by celebrities at the importance of jeans in our global culture.
wearing cool, hip and unique styles. It was really And I am also writing a new textbook with my
MTV that influenced my style through such 1980s colleague Anne Peirson-Smith of the City University
bands as the Thompson Twins, Bananarama, Fun of Hong Kong tentatively called Introducing Global
Boy Three, Eurythmics, Paul Young and Big Country. Fashion (Berg Publisher, 2016). This will be the first
I dressed like Tom Bailey of the Thompson Twins introductory fashion textbook for undergraduate
by wearing big oversized shirts, baggy short pants students that is non-western cultural specific, it
and espadrilles. Back in the 1980s, dressing like your embraces eastern influences and business practices
favourite bands was not just a trip to the mall. In in the world of fashion as well. I think today’s
addition to the mall, a person had to go to vintage fashion student realizes fashion is global, and not
clothing stores, army/navy surplus stores and thrift just a western practice and phenomenon. And of
stores. Style was more fun because it was physically course, this journal Fashion, Style & Popular Culture
a scavenger hunt, not an Internet search and buy. will be my focus until I turn the editorship over to
What is really ironic is that this was over 30 years the next person.
Read on…
Joseph H. Hancock, II | Drexel University
Editor: Fashion, Style & Popular Culture, ISSN 2050-0726
3
Fashion
***
Extract
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Why would
anyone wear
that?
Fascinating fashion facts
‘Clothes are never a frivolity; they are always an Victim of fashion, or fashionista? Fanciful or
expression of the fundamental social and economic functional? What makes men and women adopt
pressures of the time’. (Laver 1968: 10) ridiculous styles in the name of fashion? Have
people always been free to choose what they wear?
4
Why would anyone wear that?
In some societies, the ultimate show of prosperity want to adorn themselves so they will be attractive
is for an affluent person to have so much money to others.
that he or she appears to be incapable of engaging My book explores historic fashion extremes
in physical labour. By the nineteenth century, the across time and place, and literally from head to toe,
appearance of aristocratic idleness or conspicuous by beginning with headwear fashions and concluding
leisure lacked practicality for the male head of with footwear fashions. Students of fashion will
the household, as the primary breadwinner, so find that while a few extreme fashions offered
the wife became the home’s chief ornament. The benefits to the wearer, many others ranged from
unofficial ruler of English fashion, George Bryan uncomfortable to downright dangerous or deadly.
‘Beau’ Brummel identified the trend toward male
conservatism when he stated, ‘The less a gentleman is Powdering
noticeable, the more he is elegant’ (Miller 1999: 28). When artists portray the first president of the
Although the popularity of men dressing like United States, George Washington, he is often
dandies waned during the nineteenth century, featured wearing a powdered wig. Hair powdering
constrictive clothing for women continued to was an acceptable fashion for both genders and
symbolize the leisure class. Wealthy families could a powerful symbol of an elite group. Women of
pay for every imaginable service – a servant to leisure spent hours at the hairdresser, while artisans
choose clothes, a servant to button dresses and coif created incredible hair updos with false hair, Spanish
hair, and even a servant to aid with walking. moss and flour paste (the consistency of a papier
Historically, extreme fashions may have been mâché solution). Current events or the latest
uncomfortable or difficult to wear, and in some gossip inspired the bizarre creations for fashionable
instances, the fashions were forced on the wearer. hairstyles. Whether real or caricatures of the time,
In some cases parents subjected their children to artwork from the century shows an upswept hairdo
deforming and painful styles in the name of fashion. featuring a miniature sailing ship riding the crest
Wealthy or elite citizens often advocated physical of hair waves, and a hairdo that incorporates a
disfigurement in the name of beauty, fashion or miniature carriage and formal garden.
social status. By contrast, working class and poor With so much time and expense invested
people needed their children to work to help in these coiffures or hairdos, it was desirable to
pay for basic necessities. These people required maintain them for many days or even weeks. Some
functional clothing for performing routine activities; leisure-class citizens of the eighteenth century
cumbersome clothing was simply not practical. endorsed low hygiene standards and enterprising
Carefully crafted laws officially regulated the hairdressers devised long scratching sticks, so women
wearing of certain fashions, while simple economics could satisfy itches without mussing their hair.
often determined who wore other types of clothing. The Scottish poet Robert Burns, sitting in the
The time and money restrictions on the lower-class church pew behind a hatted woman with a coiffed
citizens prevented them from investing excessively hairdo, composed a poem titled ‘To a Louse’ in
in fashion frivolities. They needed comfortable 1786. Burns watched a louse scuttle on her head,
and easy-to-wear clothing that allowed them the disappearing in and out of her hairdo, while he wrote
freedom of movement to earn a living. In spite of of his outrage at the audacity of the louse to crawl
these limitations, people from lower socio-economic on such a well-dressed lady. An excerpt follows:
classes often imitated fashions or popular styles. As
students of fashion read through the historic styles Ye ugly, creepin, blastit wonner,
discussed in my book, they should bear in mind that Detested, shunned by saunt an’ sinner,
only a limited number of men and women adopted How daur ye set your fit upon her,
the most extreme fashions – and usually, they were Sae fine a lady!
of the leisure class. Gae somewhere else and seek your dinner,
Clothing symbolizes power in most societies. On some poor body.
The more extensive (larger, wider, taller or longer) (Burns 1873: 120–121)
or expensive the fashion, the more status and power
bestowed upon the wearer. Thus, extremely tall References
hats, wide skirts, costly and excessive fabrics and Burns, R. (1873), The poetical works of Robert Burns,
precious jewellery create a feeling of power, but Boston, MA: Lee and Shepard, pp. 120–121.
when the fashion becomes so cumbersome that Crane, D. (2000), Fashion and Its Social Agendas,
it prevents freedom of movement, the wearer’s Chicago, IL: University of Chicago Press.
physical or perceived power declines. Instead, the Chambers, R. (ed.) (1832), The Book of Days: A
person becomes a victim of the very fashion he or Miscellany of Popular Antiquities, London &
she freely chose to wear. Edinburgh: W & R Chambers.
In spite of all the theories and perspectives of Laver, J. (1968), Dandies, London: Weidenfeld and
fashion adoption, there is an important underlying Nicolson.
reason why extreme fashions are worn – for Miller, B. M. (1999), Dressed for the Occasion: What
adornment or to attract attention. People simply Americans Wore, 1620–1970, Minneapolis, MN:
Lerner Publications Co.
Read on…
Celia E. Stall-Meadows | Community Care College, Tulsa
Author: Why Would Anyone Wear That? Fascinating Fashion Facts, ISBN 9781841507279
5
Fashion
Face
***
Extract
***
value
Subversive beauty ideals in contemporary
fashion marketing
Figure 1: Chanel No. 5, 2012, ad visual featuring actor Brad Pitt as the first male face of the iconic Chanel fragrance. Photographer Steven Klein. Copyright Chanel.
standards, e.g. ‘contemporary seductiveness’ (Laver (Agins 1999: 137). This strategy of gilt by association
1946: 203). Faces are considered here to be the between celebrities and fashion has increased,
personification of a specific brand. The question is making the face of a brand more three-dimensional.
what subversive beauty ideals really communicate in Especially since the rise of the supermodel in the
fashion marketing. If fashion marketing is understood 1990s, the distinction between model and celebrity
as ‘the process by which companies create value for has become less clear.
customers and build strong customer relationships,
in order to capture value from customers in Face value
return’ (Kotler and Armstrong 2010: 29), the cases Fashion is organized according to a cadence of
will show how the exchange of values between change seen in recurring seasonal collections and
companies and consumers seems at first glance to fashion weeks. This institutionalization of change
differ radically not only from conventional beauty apparently for its own sake has invited satire:
ideals, but also from the general norms for status ‘Fashion is a form of ugliness so intolerable that
representation within Euro-American markets. we have to alter it every six months’ (Wilde [1887]
Since the middle of the nineteenth century, 2004: 39). Fashion, including the faces in fashion,
fashion has been formally organized as cycles of is to a certain extent driven by a level of what
sartorial expressions, and thereby fashion has also might be considered ugly as a means to break
contributed to regulating the changing perceptions with current standards and thereby live up to the
of corporeal beauty as personified by the fashion dogma of newness that characterizes fashion; ‘the
model. The history of the fashion model as a tool in intoxication of sensation and novelty’ (Lipovetsky
marketing – a ‘walking advertisement’ (Craik 1994: 1994: 146). This notion of ugly is not the equivalent
77) – can be traced back to fashion designer Charles of beauty as a relative construction, but is rather
Frederick Worth and The House of Worth in the an elusive aesthetic value that is collectively agreed
1860s, when the wife of the designer, Marie Vernet, upon as fashionable at a given time and place,
was sent out in public to parade her husband’s as well as within a specific brand identity. The
designs. She is now widely considered to be the function of this ugliness is to express both social
‘blueprint fashion model’ (Quick 1997: 24). individualization and brand distinction. In that sense,
Showing the latest designs on attractive house ugly is an ambiguous quality, which is not limited
models that mirrored contemporary beauty ideals to contemporary fashion ideals. In the exhibition
was seen to increase the attractiveness of the looks ‘Schiaparelli and Prada: Impossible Conversations’
to potential customers. In the late 1920s, designer (2012) at the Metropolitan Museum in New York,
Paul Poiret began bringing his models on tour and one of the themes was ‘Ugly Chic’. In their own way,
used models rather than aristocrats for a different the two featured designers challenged categories of
effect. With the establishment of Lucy Clayton’s good and bad taste. Elsa Schiaparelli achieved ugly
model agency in 1928, modelling as an occupation chic by elevating objects such as insects, tree bark,
gained a higher social standing (Craik 1994: 77). Since cellophane and lobsters to high fashion (2007: 61) and
then, models have experienced a rise in status and Miuccia Prada challenged standards of beauty through
are an important part of the contemporary fashion unusual combinations of colour, print and materials.
system (Quick 1997; Kawamura 2005). Definitions of good and bad taste, what is
While celebrity icons are seen in the early beautiful or ugly, have, historically speaking, been
Hollywood days (e.g. Clara Bow in the 1920s), the determined by social, cultural and historical context
symbiotic relationship between fashion designers (Eco 2007: 391). However, the rise of postmodernism
and celebrities may be traced back to the 1950s in the 1980s entailed an increase in the sense of
with Audrey Hepburn and Hubert de Givenchy relativity concerning aesthetic values (Jameson
7
Fashion
[1981] 1998). The postmodern condition lacks any constitutes a language and means of communication
controlling idea that is also within the aesthetic has been central to the proliferation of the fashion
domain, which in turn gives rise to the dogma that industry and its promotion through women’s
‘everything is equivalent and is mixed indiscriminately magazines and by sanctioning role models’ (Craik
in the same morose and funeral exaltation’ 1994: 65). These role models (e.g. TV personalities,
(Baudrillard [1981] 2000: 44). This understanding of movie stars, singers, royalty) come to represent a
relativity offers the potential ‘to transform something standard of beauty for ordinary women (Craik 1994:
ugly into an object of pleasure’ (Eco 2007: 436). 62), implicated as they are in the dissemination of
Recent developments in fashion campaigns and body aesthetics (Entwistle 2009: 16). The world of
runway shows seem to confirm this tendency fashion modelling is often noted for its celebration
towards greater volatility in the representation of of youth, ‘beauty’ and the ‘thin’ body (Entwistle
physical standards of beauty. The case studies are 2009: 8). This perception has prevailed in the
8
Face value
Figure 2: Oscar Pistorius for the AMen fragrance campaign for Mugler in 2011. Photographer Ali Mahdavi.
than 20 million hits in 2012 (http://www.youtube. in 1999. She is currently an ambassador of beauty
com/watch?v=8Uee_mcxvrw). This promotion of brand L’Oréal. Oscar Pistorius, the triple world
freak chic both by Genest himself and by Mugler record holder and triple Paralympic Champion in
and Die Antwoord indicates a social appetite for the the 100-, 200- and 400-metre races, was the face
irregular, abnormal or even monstrous. of AMen, a scent by Mugler in 2011 (see Figure 2).
Historically speaking, the sideshow freak is In addition, German model Mario Galla walked the
specific to the circus or fairs where people who Michalsky show at the Berlin fashion week in 2011
were unusual (e.g. in size or appearance) were (michalsky.com) with an exposed prosthetic leg.
exhibited. In that sense, Genest represents a While this tendency to use disabled models may
departure from the celebration of the perfect appear to be a move towards greater tolerance,
towards a more ambiguous aesthetic where what there might also be an element of taking subversive
is generally considered wrong or ugly is rendered images and using them in marketing on a more
desirable at least within a specific context. symbolic level, where what is foul becomes fair
Another example of physical imperfection is because of the potential for distinction, regardless
seen with the use of models with genetic defects. of the social reality of the images.
In the Spring/Summer (SS) 2011 Givenchy campaign,
creative director Riccardo Tisci chose albino model Case 2: Gender bending
Stephen Thompson as the face. In addition to the From Marlene Dietrich and Diane Keaton to David
physical condition, albinism is also a social and Bowie and Boy George, gender bending in and
cultural taboo in certain cultures, where albinos are through fashion within the framework of popular
even considered social outcasts (Brown 2008). The culture has taken place since at least the turn
fact that Thompson is albino was not concealed of the twentieth century. However, the recent
in the campaign. On the contrary, the use of development in fashion indicates a move beyond the
over-lighting of the images served to emphasize play and negotiation of gender identities in fashion.
his whiteness, suggesting that his condition be a Actress Tilda Swinton was the face of the Pringle
potential within the context of the campaign. So, in of Scotland menswear line AW 2010. Andrej Pejić
the case of Thompson, rather than being a self- is a highly androgynous male model embracing his
proclaimed freak as in the example of Genest, the feminine side by walking runway shows for both
notion of physical imperfection became not a choice men’s and women’s lines. Pushing the boundaries of
but a condition. gender conventions in fashion, he wore the symbolic
A third example of physical imperfection is wedding dress for the Jean Paul Gaultier SS 2011
impairment, which is used to communicate messages show. In 2011, he was the face of Dutch company
of empowerment. This was seen when Bethany Hema’s women’s lingerie campaign for the Mega
Hamilton, a professional surfer who survived a Push-Up Bra (hema.nl).
shark attack but lost an arm, took part in Volvo’s While the examples of Tilda Swinton and Andrej
‘Life on Board’ campaign (2004). Another example Pejić operate within the realm of cross-dressing,
is Shannon Murray, who was featured in a window Brazilian model Leandro Cerezo, or Lea T, takes
campaign for Debenhams in her wheelchair (2010). gender bending a physical step further. Lea is a
There are a number of examples of models with transgendered fashion model, male-to-female, who
prosthetic legs. One is Aimee Mullins, who is an started her sexual reassignment process in 2008.
accomplished athlete in track and field despite She has been the face of Givenchy in 2010 and has
having had both her legs amputated. She walked been featured in magazines such as Love, Interview
for Alexander McQueen in carved prosthetic legs and French Vogue. Finally, the choice of actor Brad
9
Fashion
Figure 3: Norwegian Chess Grandmaster Magnus Carlsen champions the geek chic look for a
G-Star Raw campaign in 2010. Photographer Anton Corbijn.
10
Face value
Pitt as the face for the iconic perfume Chanel No. Entwistle, Joanne and Wissinger, Elizabeth (eds) (2012),
5 for the Fall 2012 (see Figure 1) campaign marks a Fashioning Models: Image, Text and Industry, London:
gendered departure from the brand’s previous faces Berg.
that have included actresses Catherine Deneuve and Evans, Caroline (2005), ‘Multiple, movements, model,
Nicole Kidman. mode: The mannequin parade 1900–1929’, in C.
These examples might challenge social and Breward and C. Evans (eds), Fashion and Modernity,
cultural restrictions regarding gender and sexuality London: Berg, pp. 125–45.
as a positive side effect, but as a marketing strategy Gross, Michael (1994), Model: The Ugly Business of
they appear to adopt contemporary consumer Beautiful Women, New York: W. Morrow.
behaviour of communicating a confusing message as Hill, Daniel Delis (2004), As Seen in Vogue: A Century
a deliberate strategy in status representation. of American Fashion Advertising, Lubbock, TX: Texas
Tech University Press.
This is an extract. To read the full article, pick up a Jackson, Tim and Shaw, David (2008), Mastering
copy of the new Fashion, Style & Popular Culture Fashion Marketing, Hampshire: Palgrave Macmillan.
journal (available in November 2013). Jameson, Fredric ([1981] 1998), ‘Postmodernism and
consumer society’, in Hal Foster (ed.), The Anti-
References Aesthetic: Essays on Postmodern Culture, New York:
Agins, Teri (1999), The End of Fashion: The Mass The New Press, pp. 111–125.
Marketing of the Clothing Business, New York: Kawamura, Yuniya (2005), Fashion-ology: An
William Morrow. Introduction to Fashion Studies, London: Berg.
Aldridge, Alan (2003), Consumption, Cambridge: Polity. Kotler, Philip and Armstrong, Gary (2010), Principles of
Arnold, Rebekka (2001), Fashion, Desire and Anxiety: Marketing, Upper Saddle River, NJ: Prentice Hall.
Image and Morality in the 20th Century, London: I. B. Laver, James (1946), Taste and Fashion: From the
Tauris & Co. Ltd. French Revolution to the Present Day, London:
Baudrillard, Jean ([1981] 2000), Simulacra and George G. Harrap and Co.
Simulation, Ann Arbor, MT: The University of Lipovetsky, Gilles (1994), The Empire of Fashion:
Michigan Press. Dressing Modern Democracy, Princeton, NJ: Princeton
____ (1998), The Consumer Society: Myths and University Press.
Structures, London: Sage. McCracken, Grant (1990), Culture and Consumption:
Bordo, Susan (2003), Unbearable Weight: Feminism, New Approaches to the Symbolic Character of
Western Culture and Female Body, Berkeley, CA: Consumer Goods and Activities, Bloomington, IN:
University of California Press. Indiana University Press.
Bourdieu, Pierre (1999), Distinction: A Social Critique of Mears, Ashley (2011), Pricing Beauty: The Making of a
the Judgment of Taste, London: Routledge. Fashion Model, Berkeley, CA: University of California
Brown, Elspeth (2012), ‘From artist’s model to the Press.
“Natural Girl”: Containing sexuality in early-twentieth- Mears, Ashley and Finlay, William (2005), ‘Not just
century modelling’, in J. Entwistle and E. Wissinger a paper doll: How models manage bodily capital
(eds), Fashioning Models: Image, Text and Industry, and why they perform emotional labour’, Journal of
London: Berg, pp. 37–55. Contemporary Ethnography, 34:3, pp. 317–343.
Brown, Matt (2008), ‘Albinos are hunted for body Quick, Harriet (1997), Catwalking: A History of the
parts in Tanzania’, The National, 8 November, http:// Fashion Model, London: Hamlyn.
www.thenational.ae/news/world/africa/albinos-are- Rogers, Everett (2003), Diffusion of Innovations,
hunted-for-body-parts-in-tanzania. Accessed 12 January Cambridge: Free Press.
2013. Schiaparelli, Elsa (2007), Shocking Life: The
Craik, Jennifer (1994), The Face of Fashion, New York: Autobiography of Elsa Schiaparelli, London: V&A
Routledge. Publications.
Crane.tv (2011), ‘A Powerful and Intimate Interview Shakespeare, William (2003), Macbeth, London:
with Rico Zombie’, 28 July, http://www.youtube.com/ Methuen.
watch?v=ZmeELC5EGv4. Accessed 16 January 2013. Simmel, Georg (1971), On Individuality and Social
Diamond, Jay and Diamond, Ellen (1996), Fashion Forms, Chicago, IL: University of Chicago Press.
Advertising and Promotion, New York: Delmar Steele, Valerie (1997), ‘Anti-fashion: The 1970s’, Fashion
Publishers. Theory: The Journal of Dress, Body & Culture, 1:3, pp.
Eco, Umberto (2004), History of Beauty, New York: 279–296.
Rizzoli. Veblen, Thorstein (1970), The Theory of the Leisure
____ (2007), On Ugliness, New York: Rizzoli. Class: An Economic Study of Institutions, London:
Entwistle, Joanne (2009), The Aesthetic Economy Unwin Books.
of Fashion: Markets and Value in Clothing and Wilde, Oscar ([1887] 2004), ‘Literary and other notes’,
Modelling, London: Berg. in R. Ross (ed.), Reviews, Gutenberg: e-Book, http://
www.gutenberg.org/files/14240/14240.txt.
Read on…
Maria Mackinney-Valentin | Royal Danish Academy of Fine Arts
Contributor: Fashion, Style & Popular Culture, ISSN 20500726
11
Fashion
Generating
Style
Exploring Shanghai
Traditional
business meets
city slick.
12
Generating Style
Laid-back chic.
Smacks of
effortlessness
and washed-
back cool.
13
Fashion
Vintage inspiration
with an urban edge.
14
Generating style
15
Fashion
Snake-skin loafers in
two-tone black and
white. Exotic and chic.
16
Generating style
17
Fashion
Casual laid-back
paired with ivy-
league preppy.
18
Generating style
cool is what causes cool to move on, which explains and influences high fashion, Isaac Mizrahi’s 1980s
the circularity of street styling. But who decides winter collection displayed catwalk models wearing
what’s cool, and how do we know what cool is? black bomber jackets with fur-trimmed hoods,
The aesthetics of cool is being in control, being gold chains and big nameplate-inspired belts. This
composed, collected, unruffled and nonchalant. style became known as ‘Homeboy Chic’. Later, the
Cool is what everybody wants, which is the reassembling of luxury brands would include fashion
window to the street. Street fashion is fashion that labels Gucci, Louis Vuitton and Prada. A similar
is considered to have emerged not from major process took place among young men who belonged
couture houses, but from the grassroots, and is to the 1950s British subcultural group the Teddy
generally associated with youth culture. Shanghai boys. This group appropriated the Edwardian suits
street fashion sustains multiple, simultaneous, and clothes originally worn by upper-class dandies
highly diverse fashion movements at any given time. in an attempt to gain status. The important point
Shanghai street style can best be described as casual is that a particular style is adopted by a person to
chic that mashes unisex, rock and vintage styles to identify themselves as belonging to a community
create stylish urban fashion, what Ted Polhemus with shared values. In short, the adaptation of a
(1994) calls a ‘supermarket of styles’. These styles style communicates identity, whether as part of the
contain androgynous touches with a splash of the self-confirmation of membership in a social group
surreal; there is also a heavy Japanese influence. typical of subcultures and youth styles or as an
Major couture houses once dominated fashion and ephemeral look that determines one’s own individual
trends ‘trickled down’ to the street as young people appearance. Style makes our bodies speak; it invests
imitated consumers who could afford high-luxury garments with reputations. The leather jacket, the
brands. Now mainstream fashion often appropriates pinstriped suit, a Gucci wristwatch, lipstick and blue
street trends as influences and ‘bubbles up’ instead jeans all speak. Style is about a process of managing
of ‘trickling down’. appearances in everyday life and characterizes
Street fashion was born out of necessity, mixing identity structures and formation. It is a means of
high-fashion labels with low and fast fashion to visually communicating becoming or being in the
create a stylish look. This mixing and reassembling world and staking our place in it. In short, a look or
of labels and garments is known as bricolage, and style is a statement about who we are and how we
the style master (bricoleur) generates a style by wish to be defined by others.
reordering and recontextualizating garments to When we talk of style we allude to taste and
produce and communicate new meanings. The the ability to make discriminating judgements
generation of a style, then, involves selecting about aesthetic and creative matters. Good taste
from within the matrix of what already exists. and the deliberate pursuit of the ‘tasteful’ is at the
What happens is not the creation of garments centre of appearances. Taste is part of the process
and meanings from nothing, but rather the by which individuals construct meaning about
transformation and rearrangement of what is their social world, classifying people, practices and
‘borrowed’ or ‘chosen’ into a sequence, which carries things into categories of equal value. It is displayed
new meaning. For example, the leather jacket as an in conversation, habits, manners, fashion and the
object has no meaning; however, when placed in possession of objects, which signal co-membership
an arrangement with blue jeans, white T-shirt and into communities of wealth or knowledge. Having
black leather boots you create a rock style usually ‘taste’ bolsters one’s identity and displaying ‘taste’
associated with motorbike boys or rock chic. That serves as an identity marker. Taste classifies, and
same leather jacket when placed alongside a T-shirt, it classifies the classifier. Taste is a deliberate
safety pins, stovepipe pants and bovver boots is formation, a guiding principle of style, which reflects
transformed into a punk style. moral choices bearing on how an individual decides
Having said this about the creation of a style, to dress. Taste is expressed in a particular look and
why do the people who create street styles – and, indicates a preoccupation with abstractions, yet it is
in particular, youth – adopt a set of specific objects a particular style that displays differences, whether
and not others? In the late 1970s, 1980s and early it is classic style, hippy style or hip-hop style.
1990s, young, disenfranchised African Americans Meanwhile, there is always something left hanging
involved in the hip-hop scene adopted established out there, the tantalizing ineffability of having style;
sportswear and fashion brands such as Adidas, le the exceptional, if mythic, quality of existing outside
coq sportif, Nike and Tommy Hilfiger, although Polo of time. A classical style is expected to transcend
Ralph Lauren, Calvin Klein, Nautica and DKNY were the lineaments of its historically circumscribed
also popular. Brightly coloured Adidas tracksuits position and speak to other generations in various
were teamed up with large Prada sunglasses, Polo ways, while for someone to have style is to have
shirts, Kangol bucket hats and heavy gold jewellery. a je ne sais quoi that is irreducible to the material
By adopting fashion labels that were popular elements worn on the body. S
with white, upper-class American collegiate youth
known as ‘preppies’, the look became suggestive of References
prestige and wealth and the fight for equality. As Polhemus, T. (1994), Streetstyle: From Sidewalk to
a prime example where street fashion bubbles up Catwalk, London: Thames & Hudson.
Read on…
Toni Johnson-Woods and Vicki Karaminas | University of Queensland and University of Technology, Sydney
Authors: Shanghai Street Style, ISBN 9781841505381, Photography by Fung Chan | www.fungchanfoto.com
19
Fashion
20
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21
Fashion
Navigating
Cultural
Anxiety
Strategic ambiguity in Lisbeth Salander’s
style-fashion-dress
22
Figure 1: Noomi Rapace as Lisbeth Salander.
23
Navigating cultural anxiety
Fashion
(see Figure 3). Premiering on 20 December 2011, at all so soon after the Swedish adaptations) to
the film had been heavily marketed as ‘the feel-bad Hollywood’s tendencies toward commercialization
movie of Christmas’ (or, variously, of ‘the holidays’ or and appropriation, to the clothing line’s potential
‘the year’). Months before, Mara was on the covers glamorization of rape (Little 2011), to the somewhat
of magazines such as Vogue and W. disappointing initial box-office numbers (the ‘feel
For the cover of W, Trish Summerville, the bad’ theme seems to have backfired in the holiday
fashion designer for the film, styled Mara as season, coupled with the serious R rating that
Lisbeth with her last name temporarily tattooed limited the audience). However, David Fincher’s
on her chest and blood dripping from her hands. version of The Girl with the Dragon Tattoo, like its
Summerville explains the tattoo, which does not Swedish predecessor, has received mostly positive
exist in the book: ‘I just wanted to have a bold critical reviews.
statement piece. This was our first chance to show In the remainder of this article I interpret Lisbeth
the world our Salander. So with the blood dripping Salander and her style-fashion-dress as offering a
and the jacket being pulled open, it’s just kind of ‘pedagogy of possibility’ (McLaren 2000: 1). McLaren
that really big statement of “Here I am”’ (VanZanten uses this to characterize and expand on the ideas of
2011). Summerville also collaborated with H&M, the Paulo Freire (1921–1997), the Brazilian educator and
Swedish apparel company, on a 30-item clothing theorist of critical pedagogy (1). Such a pedagogy
line inspired by Lisbeth’s wardrobe in the Hollywood enables a philosophy and politics of liberation
film. H&M introduced the line a week before the through resistance to oppression in everyday life
film’s debut, and it sold out almost immediately. (5). I begin with a discussion of Stieg Larsson’s
Clothes from the line – for example, black faux- background, his development of Lisbeth Salander
leather leggings, a T-shirt with the slogan ‘What is as a character and unlikely style-fashion-dress icon,
hidden in the snow comes forth in the thaw’, a black and his critique of Sweden (and other ‘euromodern’3
zipper hoodie and grey slouchy harem pants – have nations). Then I turn to a discussion of anxiety
circulated for sale on the Internet through eBay as a theme in fashion theory, as well as Larsson’s
and other sites. The early January 2011 version of Millennium Trilogy. Next I consider how and why
Entertainment Weekly also sports Mara – this time Lisbeth’s style-fashion-dress articulates strategic
without a visible top. ambiguity, through which she negotiates cultural
Nominated for Golden Globe and Academy and personal anxieties by mixing and matching,
Awards, Mara renders a compelling performance concealing and revealing and going on both the
that is somewhat more vulnerable than Rapace’s. offence and the defence. In short, she masters the
Mara has more facial piercings and bleached art of contextual flexibility, using articles of clothing,
eyebrows, which give her an almost ethereal quality. eyeliner, hairspray and various accessories (along
Her hair is layered in such a way that it – like her with her keen mind and strong body) to anticipate
wardrobe – has maximum contextual flexibility, as and combat evil, as well as to challenge readers’/
is evident in Figure 3 from the Hollywood film; note viewers’ stereotypes in an ongoing manner. Finally,
the adaptability of her hair, which somehow looks I interpret Lisbeth Salander through the lens of
different in virtually every scene. feminist theorist Simone de Beauvoir’s ‘ethics of
There is no shortage of controversy about ambiguity’ (1947), and consider how Lisbeth – like
the publicity for the Hollywood adaptation. fashion and cultural anxiety – can offer a pedagogy
From the film’s raison d’être (why it was made
25
Fashion
of possibility, or a way to foster social change, albeit with Mikael Blomkvist). In the English translation,
in unexpected ways. the tattoo is much smaller and on her left shoulder.
Why the change? Possible explanations include the
Novelist Stieg Larsson (feminist and anti-racist) and publisher’s desire to curb Larsson or Lisbeth. Or,
Eva Gabrielsson (life partner) perhaps the publisher had already commissioned
Stieg Larsson (1954–2004) died suddenly and the cover art and needed to make the author’s text
tragically from a heart attack, just a few months fit the covers. Swedish writer and friend of Larsson
after his trilogy had been contracted for publication John-Henri Holmberg speculates that the latter
(Gabrielsson 2011). Like Mikael Blomkvist, the explanation may sadly be the case and argues that
leading male character in the trilogy, Larsson was ‘Lisbeth Salander is not the same person in Swedish
the editor of a progressive magazine. Larsson spent and English. The dragon tattoo is both important
his career investigating, exposing and fighting racism to her self-image and a feature striking to those
(e.g. neo-Nazi groups), state/corporate corruption, she allows to get close to her’ (Holmberg 2011: 37).
and sexism. At the age of 15 Larsson had witnessed In the Hollywood version, the tattoo grows in size
a gang rape and, for 35 years, he felt deep regret for but is still on Lisbeth’s left shoulder blade. Larsson
not having intervened; he dedicated himself to the did not have the opportunity to explicate the
cause of exposing and fighting sexual violence and significance of the dragon tattoo (or other tattoos)
gender inequality (Gabrielsson 2011). To highlight to Lisbeth. (Apparently he intended to do so in later
the institutionalized nature of gender inequality and novels.) Dragon Tattoo keeps readers wondering,
sexual violence, Larsson called the first novel Män and the English title adds to the ambiguity. What is
Som Hatar Kvinnor (Men Who Hate Women) in his very clear, however, is Lisbeth’s personal history with
native Swedish language. His publisher tried to talk gender/sexual violence and her commitment to help
him into a different title, but Larsson was insistent, others who have been violated or abused by men
and his original title prevailed in the Swedish novel, who hate women.
published in 2004. Upon Larsson’s death, his estate (which has
As the title became ‘toned down’ and rebranded grown to tens of millions of dollars) went to his
in the English translation to The Girl with the father and brother, rather than to Eva Gabrielsson
Dragon Tattoo, so too – ironically – did the size of (2011), his partner of 30-plus years. They had never
the tattoo on Lisbeth’s back. In the Swedish version, officially married, in part due to the fact that they
the dragon covers her entire back (as seen, for would have had to record their home address upon
example, on Noomi Rapace’s back in the sex scene doing so, and neo-Nazi groups whom Larsson had
26
Navigating cultural anxiety
exposed had threatened Larsson’s life. Swedish never consulted any catalogues or peered into
law does not recognize common-law marriages. any shop windows. All he did was study fashion
Gabrielsson has continued to seek intellectual, in the street. And he loved that. Stieg had a very
editorial and managerial control of the published personal way of dressing. Unlike most people in his
works and, at the time of this writing, the legal milieu, who generally favored sporty casual dress
battle is still unresolved as the estate continues for every occasion, he wore tweed jackets, elegant
to grow. In 2011, Gabrielsson published her but inexpensive, and he adapted his style to the
autobiography/biography, ‘There are Things I Want people and situations he encountered. He had
You to Know’ about Stieg Larsson and Me. class, without ever coming across as a dandy or a
Gabrielsson (2011: 95) believes that the greatest snob. (Gabrielsson 2011: 63)
single influence for the development of Lisbeth
as a character came from the famous Swedish When asked if Lisbeth Salander was designed to
fictional girl Pippi Longstocking, created by Astrid be a feminine double for Larsson, Gabrielsson
Lindgren ([1945] 2007). Years earlier, Blomkvist and replied that the two shared junk-food eating habits
colleagues had begun to speculate about what Pippi (e.g. frozen pizzas and fast-food sandwiches),
would be like as a contemporary adult character. incredible memories, intellectual curiosities and
Famously, Pippi has her own unique moral code; she strong tendencies towards secrecy and wariness,
does things her way and as a result does not fit in which can be explained by their personal histories
too well in social circumstances (e.g. a classroom) and awareness of social, cultural, and political
that demand institutionally condoned, normative threats. There is one other characteristic they had in
behaviour. Like Lisbeth, Pippi is a sui generis common: a drive for a higher morality.
character; she lives on her own, without parents.
Pippi is very small, but incredibly strong; she can lift For Stieg, Lisbeth was the ideal incarnation of the
a horse. Her appearance is rather quirky. She has code of ethics that requires us to act according
bright red hair and wears braids that stick straight to our convictions. She is a kind of biblical
out sideways. She makes her own dresses from archangel…. This dilemma between morality
scraps, and wears striped knee socks that do not and action is in fact what drives the plot of the
match (one black and one brown). ‘Millennium’ trilogy. Individuals change the world
There are a few compelling similarities between and their fellow human beings for better or for
Pippi Longstocking and Lisbeth Salander. They both worse, but each of us acts according to his or her
have their own moral codes, have some asocial own sense of morality, which is why in the end
tendencies, are very smart and are extremely strong everything comes down to personal responsibility.
despite their small size. We learn on page 38 of (Gabrielsson 2011: 82)
Dragon Tattoo that Lisbeth’s hair, like Pippi’s, is
naturally red, but Lisbeth dyes it to a raven black. Following months of aggressive marketing by
On page 48, she shows up for a meeting with Sony Pictures, in advance of the Hollywood release
her boss, Dragan Armansky, and a client wearing of the film, Gabrielsson indicates that Larsson would
striped (matching) green and red striped knee socks, have been disgusted by the commercialization of
which undoubtedly add a Pippi-spunky spark of Lisbeth Salander, especially by the ‘branding’ of her
colour to her otherwise stark, dark outfit: a black to sell products (e.g. the H&M clothing line). She
T-shirt printed with a fanged E.T. and the words ‘I says that Stieg and she would never have sold the
am also an alien’, a black skirt with a frayed hem, rights for such commodification. Rather, he (and
a worn black leather jacket, a rivet belt, and heavy she) would have wanted to use the pre-debut film
Dr Martens boots. (The Swedish film adaptation buzz to steer the publicity toward cultural discourse
shows Lisbeth in the outfit; there were no striped regarding gender discrimination and sexual violence
socks in either film adaptations.) A few pages later, (Rising 2011).
she says that she would give anyone a fat lip if they Part of the pre-debut blitz was a promotional
ever compared her to Pippi Longstocking. Armansky Hollywood film poster in which Lisbeth (Rooney
swallows hard, because he has often compared the Mara) is topless; both of her nipples are pierced in
two in his head. Later in the trilogy, Lisbeth, like such a way, according to director David Fincher, that
Pippi, acquires a ‘pot of gold’, and she names her they ‘catch the light’. Blomkvist’s (Daniel Craig’s) arm
apartment V. Kulla (like Pippi’s Villa Villekulla). is around the top of her chest, as if to protect her
Most likely, however, Lisbeth Salander is a from the world. He is fully clothed. Feminist blog
synthesis of Pippi and other influences. Gabrielsson sites question the motivation and need for such
notes that Larsson himself shared an acute ability to imagery (Silverstein 2011). Adding to the feminist
process information: disappointment of the publicity surrounding the film,
but not Mara’s performance per se (which – like
Stieg was like a sponge, absorbing everything Rapace’s – has been widely praised), is an interview
and without ever taking notes! For example, to by Mara, in which she interprets Lisbeth as not being
come up with the clothes his characters wore, a feminist, as though that would be too ‘easy’ for
which were always described in great detail, he such a complex character: ‘I don’t think she would
27
Fashion
characterize herself as that either, you know? I don’t as pedagogical inasmuch as it gestures towards
think she really acts or does the things she does in freedom’s possibilities: anxiety is the ‘dizziness of
the name of any group or person’ (Cranz 2011). freedom’ (61).
Mara goes on to say that she does not However, Kierkegaard goes on to suggest that
necessarily regard herself as a feminist – that anxiety is like innocence; it is like not knowing what
she is not really sure what that means – because will happen next (41). Writing about a hundred
she, like Lisbeth, does not identify with any single years later, Walter Benjamin (1892–1940) indicates
group or person. Blogger Alex Cranz analyses this that fashion is a compelling philosophical area of
interview and says, ‘All I can do is be disappointed. inquiry because of its ‘extraordinary anticipations’
Really really disappointed’ (2011). Perhaps, Cranz (1999: 63). It is evident from notes in Benjamin’s
speculates, a publicist supplied Mara with these uncompleted book, The Arcades Project, that he read
lines, or maybe she and the film publicists think Kierkegaard’s work. Because Benjamin died before
that being feminist means that you ‘have to get he was able to finish his project, it is impossible to
hung up on the hypersexual portrayal of women know if Kierkegaard’s writing on anxiety influenced
in the media’. Perhaps they felt it would have been Benjamin’s thinking about fashion. There are some
too much of a contradiction to endorse feminist intriguing parallels, however. Colleagues of Benjamin
values, in light of the sexualization of Lisbeth in the compiled and edited his notes into the published
promotional materials. Or, perhaps they believed volume that continues to fascinate and itself serves
embracing such values openly would limit their as a pedagogy of possibility. That is, Benjamin
market. Or, as Cranz notes, maybe their remarks seems to suggest that fashion fosters some vague
represent a failure of feminist education. At any inkling of what is to come. Perhaps we can surmise
rate, Cranz argues that Larsson created Lisbeth here a useful but subtle distinction between anxiety
‘specifically to represent women and feminist ideals’, and fashion: anxiety involves anticipating without
Often permeated by death, disease and dereliction, with her. If they do, she always seeks revenge.
[fashion’s] imagery articulated the anxieties as (Larsson also had this quality, according to his life
well as the pleasures of identity, alienation and partner, Eva Gabrielsson [2011].) She typically does
loss against the unstable backdrop of rapid social, so behind the scenes. As a world-class computer
economic and technological change at the end of hacker, Lisbeth investigates and learns others’
the twentieth century. secrets, exposes corruption and violence, and moves
(Evans 2003: 4) money around the world. Lisbeth can also defend
herself physically with her impressive boxing and
Emerging as a character in the early twenty-first martial art skills, combined effectively with tasers.
century, Lisbeth Salander – computer hacker Critics, bloggers and others have debated the
extraordinaire, alienated but not victimized ward meaning of Lisbeth’s tattoos and piercings, her
of the state, gender outlaw (Hook 2011), avenging make-up, spiky accessories, black wardrobe, and
superheroine (Rosenberg 2011), and rape survivor – her combat boots. Her T-shirts with slogans, in
literally embodies and/or combats a complex nexus particular, say a lot about her feelings about herself
of anxiety-producing themes with transnational and her relation to the world:
relevance:
• gendered power relations and violence ‘I am also an alien’ (a black T-shirt with picture of
(including rape, torture, sex trafficking) E.T. with fangs). (Larsson 2009: 48)
• sexual difference(s) and body image issues
• unresolved cultural histories and ‘Armageddon was yesterday – Today we have a
governmental secrecy serious problem’. (2009: 330)
• corporate and state corruption
• immigration and racism ‘I can be a regular bitch. Just try me’. (2009: 505)
• technology’s potential to invade personal
(or corporate) space. ‘Kill them all and let God sort them out’ (a washed-
out camouflage shirt advertising Soldier of Fortune
In an interview in 2007, Noomi Rapace was reported magazine). (2009: 550)
as saying (translated) that playing the role of
Lisbeth was especially meaningful to her because, ‘Consider this a fair warning’ (black T-shirt worn
‘I’m interested in the darker aspects of humankind, with jeans, sandals, sun hat, and black bag).
that which is not easy or well balanced. The cracks’ (Larsson 2010a: 20)
(Anon. n.d.). In many ways, The Millennium Trilogy
offers a kind of post-9/11 wake-up call: threats ‘You have the right to remain silent’. (2010a: 138)
to society are not only from outside others (e.g.
transnational terrorists); very real threats emerge ‘I am annoyed’. (2010b: 463)
within our own institutionalized, cultural spaces,
even in progressive, contemporary Sweden, as well Her anarchic and anxiety-inducing verbal messages
as many other nations. clearly indicate: ‘Don’t mess with me. You’ll regret
Let’s turn to a consideration of Lisbeth’s it if you do.’ Psychologists, psychiatrists and various
embodiment of cultural and personal anxieties. critics have described her clothes as self-protective
As noted earlier, she is tiny yet strong. Larsson armour (e.g. Rosenberg and O’Neill 2011: 3). If so, it
describes her as easily passing for a 14-year-old boy, seems to be an urban armour that she frequently
based on her height, breast size and clothing choices. dons in Stockholm. (Her appearance softens when
Her style-fashion-dress goes on the visual offence on the rural island of Hedeby and – especially – in
and provides others with a fair warning not to mess the Cayman Islands in The Girl Who Played with
29
Fashion
Fire.) I believe her style-fashion-dress is partially physically or psychologically, she has the tattoo
self-protective, but further would argue that it symbolizing that person removed. Lisbeth’s
articulates and generates cultural anxieties; it makes piercings are her way of following the fashion of
people think twice about the stability of the social others her age, but those tattoos are her war paint.
order. It questions the authority, for example, of To some extent, the young woman behaves like
gender and sexual categories (Hook 2011; Surkan a native in an urban jungle, acting like an animal,
2012). relying on instinct, of course, but always on the
Lisbeth marks herself; she highlights her alert as well for what may lie ahead, sniffing out
difference, especially on Stockholm streets and danger. (2011: 206)
in certain situations to create social distance.
Kierkegaard described anxiety as the discrimen of We do know from Fire that Lisbeth, whose online
subjectivity ([1944] 1981: 197). The Latin discrimen code name is Wasp, has a laser procedure to
translates to ‘that which parts’, ‘intervening space’, remove the wasp tattoo from the right side of her
‘interval’, ‘distance’, or ‘separation’ (Perseus Digital neck (Larsson 2010a). The stated reason was that
Library n.d.). Some versions of Kierkegaard translate it was conspicuous and marked her identity clearly.
anxiety as the ‘ambiguity of subjectivity’ (197). In She did not want to be identified or remembered
this sense, ambiguity may be analogous to an (Larsson 2010a: 19). In an essay on the psychology
indeterminate space in between – like a blurry gap. of Lisbeth’s body dressing, Rodgers and Bui attribute
Perhaps Lisbeth’s strong yet ambiguous T-shirt the removal of the tattoo (described by them as
statements can be interpreted as creating a gap or a form of ‘self-mutilation’), along with Lisbeth’s
distance between her and others. Yet overall her surprising breast augmentation surgery (described
appearance is ambiguous and, if anything, invites by them as ‘self-care’), to her movement away from
questioning – critical and creative thinking. harmful practices towards those that they see as
Lisbeth’s tattoos, while more personal and more therapeutic or indicative of her more positive,
permanent than her T-shirts, also mark her body healthy relationship with herself and with the world
in a way that may represent the space or distance (2011: 43). I am afraid I cannot completely buy this
associated with anxiety: the discrimen or ambiguity argument, although it does seem to bear some
of subjectivity. We learn about all of her tattoos resemblance to Gabrielsson’s description of the
from Blomkvist’s perspective when he is having sex fourth novel.
with her. He counts them; in addition to the dragon Somehow I feel more comfortable with the idea
on her back (in the Swedish version) or her left that Larsson uses Lisbeth’s removal of her wasp
shoulder (in the English version), there is the wasp tattoo strategically; it meshes with the plot and her
on her neck, a loop around one ankle, another loop need to go unnoticed or unmarked in Fire. I do think,
around the biceps of her left arm, a Chinese symbol however, that Larsson presents Lisbeth as having
on her hip and a rose on one calf (Larsson 2009: anxieties about her body. The reader becomes
420). aware of this through her thoughts while looking
We never learn from The Millennium Trilogy in the mirror and through her conversations with
what each of the tattoos means to Lisbeth, but we others before or while having sex. Male characters,
do get the impression that they function to mark such as her boss Armansky and her research
(often violent) events – much like mnemonic devices partner Blomkvist, seem to share her perception
– so that she will not forget what others have done (or Larsson’s?) that she is too skinny and too flat-
to her. In Dragon Tattoo, after Lisbeth’s guardian, chested.
appointed by the state, rapes her in a horrendously Early in Dragon Tattoo, Armansky looks at
painful scene, she gets the loop tattoo around Lisbeth and reflects on his strange, ambivalent
her ankle. The tattooist warns her that the tissue attraction to her. He thinks that she could almost
in that area is thin, and that it will hurt. She tells be described as attractive, if she would wear the
the tattooist to proceed and observes the process ‘right make-up’ (minus the black lipstick, tattoos,
carefully. It appears that there are two reasons pierced nose and eyebrows). He thinks that she
for this tattoo: (a) to mark the violent event and could have been a fashion model, except for her
(b) to remind herself of the tattoo process. She ‘extreme slenderness’. Apparently Armansky (or
manages to get some revenge and regain control rather, Larsson) is not very familiar with fashion
over her own finances when she tases her guardian industry standards for models. Granted, she would
unexpectedly in a later scene; she then sodomizes be excluded from the fashion modelling industry, not
him with a large dildo and, so as to hinder him because of her ‘extreme slenderness’ but because
from sexual relations in the future, she inflicts a of her height (4’ 11”). This discrepancy between
tattoo across his abdomen: ‘I am a sadistic pig, a Lisbeth’s height and that of fashion models becomes
pervert, and a rapist.’ She marks him; she creates a especially evident when considering an image of
permanent discrimen. H&M models wearing Lisbeth-inspired clothing prior
Had Larsson had the opportunity to complete to the release of the Hollywood film. The models
his fourth novel (apparently he had ten planned in surround, and tower over, Trish Summerville, fashion
the series), the personal meanings of her tattoos designer/stylist of the Dragon Tattoo clothing line
would probably have been revealed. Gabrielsson for H&M (Lo 2011), Armansky (or Larsson) describes
writes that in the fourth novel: Lisbeth as having small, ‘childlike breasts’ and a wide
mouth, small nose, and high cheekbones – with ‘an
Lisbeth gradually breaks free of all of her ghosts almost Asian look’. Armansky thinks that she looks
and enemies. Every time she manages to take like she had ‘just emerged from a week-long orgy
revenge on someone who has harmed her, with a gang of hard rockers’ (Larsson 2009: 38).
30
Navigating cultural anxiety
In the cottage on the island of Hedeby, Lisbeth Several pages later, she analyses her image
goes into Blomkvist’s bedroom and makes it clear again in the mirror. She has downsized her piercings.
that she wants to have sex with him. He thinks She had had the ring in her nipple removed during
to himself: ‘Her skinny body was repulsive. Her the breast surgery. She had also taken out the ring
breasts were pathetic. She had no hips to speak of’ in her lower lip and had unscrewed the stud in her
(Larsson 2009: 396). She asks him, ‘Aren’t I sexy tongue. She still had rings in her earlobes, a ring in
enough?’ (397). He counts her tattoos as he gives in her left eyebrow, and a jewel in her navel (Larsson
to her advances. (As it turns out, this is not a new 2010a: 103–04).
experience for Blomkvist. Women come on to him She shares her new breasts with her girlfriend
repeatedly throughout the trilogy.) and lover, Miriam Wu (Mimmi), who says:
The reader learns more about Lisbeth’s body
image at the end of Dragon Tattoo, when she They’ll do…look fantastic. You’re so hung up about
disguises herself as a wealthy woman named Monica your body…. Apart from the fact that you’re not
Sholes in order to make a ‘bank transfer’. She really a dyke. You’re probably bisexual. But most
unmarks her own appearance by covering the wasp of all you’re sexual – you like sex and you don’t
tattoo on her neck with a thick layer of make-up care about what gender. You’re an entropic chaos
and powder. She puts on a page-boy blonde wig, factor…. Your breasts are luscious. They fit you.
false eyelashes, rouge, lipstick, pink nail polish on Not too big and not too small…. And they feel
her fingers, and wears a sand-coloured skirt with a real. (Larsson 2010a: 120–22)
matching blouse, black tights, waist-length jacket
and beret (from Camille’s House of Fashion) and The Swedish film trilogy leaves out the breast
black boots. She also changes her silhouette: augmentation, and it still remains to be seen if
or how the second and third Hollywood Sony
For the first time in her life Salander had a bustline Pictures film adaptations will deal with this part of
that made her – when she glanced at herself in the the plot. However, advertising for the Hollywood
full-length mirror – catch her breath. The breasts Dragon Tattoo has certainly highlighted Mara’s
were as fake as Monica Sholes’ identity. They were breasts, which she had pierced for the role. In
made of latex and had been bought in Copenhagen the promotional poster described earlier (with
where the transvestites shopped…. [She spent] Blomkvist’s arm around the top of her chest) her
five minutes examining herself in the mirror. She two nipple piercings are visible, and Lisbeth gazes
saw a total stranger. Big-busted Monica Sholes into the camera, expressionless (Franich 2011). In
in a blonde page-boy wig, wearing more make-up this instance, the ambiguity of Lisbeth’s sexuality
than Lisbeth Salander dreamed of using in a whole slips away; a heteronormatively sexualized and
month. She looked…different. commercialized version of Lisbeth moves into this
(Larsson 2009: 560–61) promo for the film.
The following section moves the conversation
She later discards Sholes’ identity, literally, in a bin, back to issues of contextual flexibility associated
and flushes the (traceable) designer jewellery down with Lisbeth’s sexual and other subject positions, as
the drain. But after ‘a moment of anxious hesitation’, well as her style-fashion-dress.
she decides to keep the latex breasts.
At the beginning of the second novel, Lisbeth Strategic ambiguity through contextual flexibility
is in the Cayman Islands. Having come into some As the discrimen or ambiguity – the uncertain
wealth, she has been travelling for a year. She has space in between – of subjectivity, anxiety plays
let her hair grow out, and she is very tanned. She out through Lisbeth’s styling-fashioning-dressing
is wearing khaki shorts and a black top. She’s still of her body. She is a character who articulates her
4’ 11’’ and weights 90 lbs. But now her breasts are agency, or – in psychological terms – her self-
different; she has had breast enlargement surgery efficacy and resilience (Rutledge 2011: 218) as she
in one of Europe’s best plastic surgery centres in moves across and within gender, sexual, ethnic, class,
Genoa, Italy. Her new breasts are moderate in size. generational and other subject positions. Each of
She studies herself in the mirror and notes how her subject positions is ambiguous and shifting, and
dramatic the difference is, ‘both for her looks and taken together, their intersectionalities – in feminist
for her self-confidence’ (Larsson 2010a: 19). When theoretical terms – reveal how Lisbeth not only
she left the clinic she had felt panicked – as though navigates but also fosters ambiguity: strategically,
everyone was staring at her new breasts. It took her contextually, flexibly. It is hard to place her in any
a while to realize that this was not the case. She one subject position, any single group or subculture,
had not marked herself as different with this newest or any essence of any sort. She may seem at times
modification to her body; rather, she realized that to care little about her appearance, but she certainly
she could blend in (Larsson 2010a: 32). manages it with critical and creative dexterity.
In Fire, Lisbeth also goes to a store called Twilfit A typical outfit for Lisbeth in Dragon Tattoo
for knickers and bras, and buys a drawerful of is one that she dons again upon her return to
lingerie. After 30 minutes of ‘embarrassed searching’ Stockholm in Fire. She wears old black ripped jeans
(pointing again to her anxiety), she selects a sexy (with blue knickers showing through underneath)
set that she would have ‘never dreamed of buying with boots, and she reunites with her black leather
before’. However, when she tried it on that night and jacket, which is scuffed and has rivets on the
looked in the mirror, she saw a ‘thin, tattooed girl in shoulder (Larsson 2010a: 81).
grotesque underwear. She took them off and threw Also in Fire, Lisbeth manipulates her facial
them in the trash’ (Larsson 2010a: 95). piercings with considerable flexibility. She takes
31
Fashion
them off and puts them on according to the context. nights with. If she had to choose, she preferred
When she wants to pass as a more conventional guys – and they were in the lead, statistically
woman, she slips them out. When she assumes speaking. The only problem was finding a guy who
the identity of a woman named Irene Nesser, for was not a jerk and one who was also good in bed;
example, she removes the ring in her eyebrow and Mimmi was a sweet compromise, and she turned
puts on make-up and a long blonde wig. In one Salander on. (Larsson 2009: 327)
scene as Nesser, she wears dark jeans with a warm
brown sweater with yellow trim and walking boots Lisbeth’s style-fashion-dress is similarly ambiguous
with heels (Larsson 2010a: 413). and, as we have seen, strategic. She mixes and
Lisbeth’s body, even after her cosmetic surgery matches old, worn pieces (e.g. black leather jacket,
in Fire, could easily pass for that of a 14-year-old boy distressed denim, torn T-shirts) with new articles
(representing ambiguous intersectionalities between of clothing, especially after she becomes wealthy.
gender and generation). Lisbeth knows when and She styles herself in a mode that can alternately be
how to use this ambiguity strategically to pass as a labelled as punk, hard rocker, goth, cyberpunk, or
boy, using her style-fashion-dress (wearing gender- other groups, yet she defies and resists labels of any
neutral attire – hoodies and jeans and such). Mara sort. She fights against the kind of categorization
indicates, ‘Before [this role], I dressed much girlier. A that Caroline Evans (1997) has called the futile
lot of blush-colored things. Now I literally roll out ‘butterfly’ effect of pinning down subcultures that
of bed and put on whatever is there. I have really are actually more fluid.
enjoyed being a boy this last year’ (Van Meter 2011). In Fire, when Lisbeth goes on a shopping spree
Lisbeth’s sexuality is also ambiguous; it at H&M, she buys pants, jeans, tops and socks:
intersects with her ambiguous class and gender items that are contextually flexible. They can be
subject positions in a complex way. At the end of mixed and matched for a range of personae and
Dragon Tattoo, when her class status increases situations. Perhaps it was this mention of H&M
dramatically, she experiments – primarily for that inspired the Swedish retailer to team up with
undercover reasons – with more heteronormative, Trish Summerville to create a ‘capsule collection
or conventionally mainstream, modes of femininity. inspired by anti-heroine Lisbeth Salander’ (Bergin
In Fire, she goes on a shopping spree at H&M, 2011). Summerville explains this Hollywood ‘tie-in’ as
buying separates that she can mix and match with follows: ‘She took basic pieces of Lisbeth’s wardrobe
her darker urban wardrobe. Even more surprising, used throughout the film and made them a little
though, is Lisbeth’s breast augmentation surgery. more fashionable for H&M. Summerville’s goal was
Kim Surkan (2012) offers a very interesting analysis for women to find pieces that they could then mix
of Lisbeth’s gender and sexual subject positions, with items in their own wardrobes to “create their
and invites us to consider their intersectionalities own personal style”’ (Casadei 2011). In this way,
through a queer lens. She argues convincingly, in women could incorporate ‘little pieces of Salander’
my view, that the concept of genderqueer helps and her ‘essence’, ‘strength’, and ‘moral code’ into
to explain these intersectionalities; this concept their lives (Creeden 2011). Summerville had found
complicates rather than pinpoints gender and some of the pieces for Lisbeth’s wardrobe in ‘the
sexual identities, and opens up – rather than closes insane resale shops in Sweden’, including ML Resale
down – subjectivity. Thinking about Lisbeth’s and Mix Mix Mix, which are among her favourites.
subjectivity through the lens of genderqueer enables Summerville also had two leather jackets custom
a reading of her not only as bisexual, but also as made for Mara from a company named Cerre and
fluid in her gender identity. Rather than debating, by a designer named Agatha Blois, who has made
for example, whether Lisbeth can be a feminist clothing for rockers for over 20 years. Summerville
if she has breast augmentation surgery (as some regarded these jackets as old, comfortable shields
bloggers have done), the conversation shifts to for Lisbeth (VanZanten 2011).
one of considering Lisbeth’s desire for her body to Fashion bloggers reacted to the news on
match her self-conceptions of gender. Of course, Glamour’s fashion site in advance of the line’s debut
this only becomes possible when she has the money in selected stores and online (Lo 2011):
to afford the surgery, so gender, sexual and class WHY IS THERE NOT AN H&M NEAR ME?! I just
intersectionalities become compelling. about DIED from envy when I saw her wardrobe
We learn in Dragon Tattoo that Lisbeth is from the movie! She’s one of my favorite
sexually active. She has had more than 50 sexual characters. Although I’m not super happy about
partners since the age of fifteen, almost always at the American adaption of the movie… the Swedish
her initiative, and often with older men. Miriam Wu version is amazing! (evelinestays)
(Mimmi) is the only female sexual partner we get
to know in the trilogy; she is introduced briefly in love black everything can’t wait for this line!
Dragon Tattoo and then assumes a more prominent (emmanelson96)
role in Fire. The following passage in Dragon Tattoo
provides a clue to Lisbeth’s sexual flexibility: Here’s to hoping that the leather pants don’t look
cheap! I’d love a pair of leather leggings, but I can’t
Salander – unlike Mimmi – had never thought of afford a proper pair. (daydream11)
herself as a lesbian. She had never brooded over
whether she was straight, gay, or even bisexual. Responses to a YouTube posting in late 2011 about
She did not give a damn about labels, did not see the collection, however, yields a wider range of
it was anyone else’s business whom she spent her
32
Navigating cultural anxiety
responses: pro, anti, and ambivalent (YouTube the epitome of contextual flexibility. It is styled
Commentators 2011): differently in every scene. Cut strategically with a
series of jagged points, her hair looks like Lisbeth
I think h&m is cool and I lovveeee The millennium chopped it herself in a random moment of self-
trilogy…but i personally don’t think a character like fashioning with a razor. In fact, her hair has been
lisbeth salander should be put in the spotlight for strategically styled into a kind of uneven extended
fashion…because that’s just not what her character shag, except for her fringe, which is cropped very
is about…she should be put in the spotlight based short into a straight edge. The result is the potential
on the things her character actually goes through for many different looks: on some occasions it is
and her abilities (joaniecheriezz) spiked into a Mohawk. At other times it looks like
Lisbeth just stumbled out of bed. And then there
Omg, do they have to squeeze money out of are the tiny random pigtails and, on some occasions,
everything?! Stieg Larsson is probably turning in a smoother look. Like her character, Lisbeth’s hair is
his grave right now. (luiza089) multi-layered.
33
Fashion
process of embodied knowing in ways that are at friend and colleague, Anna Kuhn, for introducing me
once critical and creative; that include attention to Stieg Larsson’s novels and the Swedish adaptations,
to issues of production as well as consumption; and for many helpful conversations and suggestions
and that entail self-reflexivity in the interplay throughout this project.
among style, subjectivity and the negotiation of 2 Many thanks go to Linda Matheson for all of the
meaning with others (Kaiser 2001). A pedagogy of conversations we have had about clothing’s ‘plot-
possibility takes the process of minding appearances propelling’ role as she was working on her dissertation
a step further by embedding style-fashion-dress (Matheson 2011).
in the context of entangled cultural anxieties in a 3 I use ‘euromodern’ here in the cultural studies sense,
transnational world. As a case study and unlikely as articulated by Lawrence Grossberg. He uses the
teacher of possibility, Lisbeth Salander – as a term to include ‘western’ European nations and other
character in the book trilogy, the Swedish films, and ‘western’ nations with European colonial roots (e.g. the
the Hollywood film – keeps us on our toes. She United States, Australia, Canada) and share entangled
reminds us that it does not make sense to judge cultural histories and processes of modernization and
by appearances or to stereotype. She challenges us industrialization. By this usage, he acknowledges that
to think beyond labels or essences of any kind. She euromodernity is only one of many forms of modernity
fosters ethics of ambiguity that enable her to disrupt around the world (Grossberg 2010: 264–65).
conventional expectations and to grapple with –
indeed to embody – cultural and personal anxieties. References
Lisbeth’s style-fashion-dress and its appropriation by Anon. (n.d.), ‘Noomi Rapace as Lisbeth Salander’, The
Hollywood and H&M challenge us to embrace the Literary Magazine of Swedish Books and Writers/
possibilities, as well as the limits, of subversion in Stieg Larsson, http://www.stieglarsson.com/noomi-
the context of capitalism. rapace?page=40. Accessed 10 October 2012.
One of the final scenes in The Girl Who Kicked Arnold, R. (2001), Fashion, Desire and Anxiety:
the Hornet’s Nest (Larsson 2010b) gestures artfully Image and Morality in the Twentieth Century, New
and strategically towards Lisbeth’s pedagogy Brunswick, NJ: Rutgers University Press.
of possibility. As she hopes to ‘take down’ state Barthes, R. (1983), The Fashion System (trans. Matthew
corruption along with gender violence and Ward and Richard Howard), New York: Hill and Wang.
other sources of cultural anxiety that have been Beauvoir, S. de (1947), The Ethics of Ambiguity (trans.
surreptitiously stifled through acts of secrecy Bernhard Frechtman), Secaucus, NJ: Citadel Press.
and denial, Lisbeth enters the courtroom as the Benjamin, W. (1999), The Arcades Project (trans.
defendant. Blomkvist gasps when he sees her. What Howard Eiland and Kevin McLaughlin), Cambridge,
was his sister (Lisbeth’s attorney) thinking? Lisbeth MA: The Belknap Press of Harvard University Press.
wears a black leather miniskirt with frayed seams. Bergin, O. (2011), ‘H&M Brings “The Girl with the
Her black T-shirt says ‘I am annoyed’ and barely Dragon Tattoo” Look to the High Street’, The
covers her tattoos. She has a ring through her left Telegraph, 26 October, http://fashion.telegraph.co.uk/
eyebrow and ten piercings in her ears. She is wearing article/TMG8849972/HandM-brings-The-Girl-With-
grey lipstick and the heaviest and darkest eye The-Dragon-Tattoo-look-to-the-high-street.html.
make-up he has ever seen her wear. In the Swedish Accessed 29 December 2011.
film adaptation, her hair is spiked into the most Casadei, M. (2011), ‘Trish Summerville for H&M’, Vogue,
striking Mohawk imaginable. It is sticking straight up. 14 December, http://www.vogue.it/en/magazine/daily-
Then Blomkvist realizes that her look is a news/2011/12/trish-summerville-lisbeth-salander-for-
strategic parody of the decadent way in which the hem. Accessed 29 December 2011.
media had been labelling her throughout the last Cranz, A. (2011), ‘Rooney Mara Wouldn’t Call Herself a
two novels. If she had appeared in the courtroom Feminist’, Fempop, 21 December, http://www.fempop.
‘with her hair smoothed down and wearing a twin- com/2011/12/21/rooney-mara-wouldnt-call-herself-a-
set and pearls and sensible shoes’, she would have feminist/. Accessed 21 December 2011.
been interpreted as ‘a con artist trying to sell a Creeden, M. (2011), ‘Breaking Out: Trish Summerville
story to the court’. Rather than stifling anxiety, she on Her New Collection at H&M – and Dressing The
articulates it through exaggerated self-fashioning Girl with the Dragon Tattoo’, Vogue, 13 December,
that is both ambiguous and ‘way over the top – for http://www.vogue.com/culture/article/breaking-out-
clarity’ (Larsson 2010b: 463). trish-summerville-on-her-new-collection-at-hmand-
I believe that Simone de Beauvoir would have dressing-the-girl-with-the-dragon-tattoo/. Accessed 29
liked Lisbeth as an existential teacher of possibility. December.
In the spirit of strategic ambiguity, however, I just Eicher, J.B. (2010), ‘Encyclopedia Preface’, in J.B. Eicher
have one minor regret: I would have liked to have (ed.), Berg Encyclopedia of World Dress and Fashion:
seen some striped socks in the film adaptations. Global Perspectives, Oxford: Berg, pp. xiii–xiv.
Maybe in black and grey? S Entwistle, J. (2000), The Fashioned Body: Fashion,
Dress, and Modern Social Theory, Cambridge: Polity
Endnotes Press.
1 I am very grateful to Elizabeth (Liz) Constable, my Evans, C. (1997), ‘Dreams That Only Money Can Buy…
friend and colleague in Women and Gender Studies, or, the Shy Tribe in Flight from Discourse’, Fashion
for suggesting the sui generis terminology to capture Theory, 1:2, pp. 169–188.
Lisbeth Salander’s one-of-a-kind quality. Liz made many Evans, C. (2003), Fashion at the Edge: Spectacle,
other insightful and constructive comments on an Modernity and Deathliness, New Haven, CT: Yale
earlier draft of this article. I am also indebted to my University Press.
34
Navigating cultural anxiety
Franich, D. (2011), ‘“The Girl with the Dragon Tattoo” and R. E. Bahruth (eds), Freirean Pedagogy, Praxis,
Poster Features Nude Rooney Mara, Curiously Upset and Possibilities: Projects for the New Millennium,
Daniel Craig (NSFW)’, Entertainment Weekly, 8 June, New York, NY: Falmer Press, pp. 1–22.
http://insidemovies.ew.com/2011/06/08/girl-dragon- Perseus Digital Library (n.d.),www.perseus.tufts.edu
tattoo-nude-poster/. Accessed 25 February 2011. http://www.perseus.tufts.edu/hopper/resolveform?red
Gabrielsson, E. (2011), ‘There Are Things I Want You irect=true&lang=Latin. Accessed 21 February 2013.
to Know’ about Stieg Larsson and Me (trans. L. Rising, M. (2011), ‘Larsson’s Partner: “Girl with the
Coverdale), New York: Seven Stories Press. Dragon Tattoo” Merchandise Masks Novel’s Points’,
Grossberg, L. (2010), Cultural Studies in the Future The Christian Science Monitor, 21 December,
Tense, Durham, NC: Duke University Press. http://www.csmonitor.com/World/Latest-News-
Holmberg, J.-H. (2011), ‘The Novels You Read Are Not Wires/2011/1221/Larsson-s-partner-Girl-with-the-
Necessarily the Novels Stieg Larsson Wrote’, in D. Dragon-Tattoo-merchandise-masks-novel-s-point.
Burstein, A. de Keijzer and J.-H. Holmberg (eds), The Accessed 21 December 2011.
Tattooed Girl: The Enigma of Stieg Larsson & the Rodgers, R. and Bui, E. (2011), ‘The Body Speaks Louder
Secrets Behind the Most Compelling Thrillers of Our Than Words: What Is Lisbeth Salander Saying?’, in
Time, New York: St. Martin’s Griffin, pp. 29–41. R.S. Rosenberg and S. O’Neill (eds), The Psychology
Hook, M.K. (2011), ‘Lisbeth Salander as a Gender of the Girl with the Dragon Tattoo: Understanding
Outlaw’, in R.S. Rosenberg and S. O’Neill (eds), The Lisbeth Salander and Stieg Larsson’s Trilogy, Dallas,
Psychology of the Girl with the Dragon Tattoo: TX: Smart Pop, pp. 29–44.
Understanding Lisbeth Salander and Stieg Larsson’s Rosenberg, R.S. (2011), ‘Salander as Superhero’, in R.S.
Trilogy, Dallas, TX: Smart Pop, pp. 47–64. Rosenberg and S. O’Neill (eds), The Psychology of the
Kaiser, S.B. (1997), The Social Psychology of Clothing: Girl with the Dragon Tattoo: Understanding Lisbeth
Symbolic Appearances, New York: Fairchild Salander and Stieg Larsson’s Trilogy, Dallas, TX:
Publications. Smart Pop, pp. 253–270.
Kaiser, S.B. (2001), ‘Minding Appearances: Style, Truth, Rosenberg, R.S. and O’Neill, S. (2011), ‘Introduction’, in
and Subjectivity’, in J. Entwistle and E. Wilson (eds), R.S. Rosenberg and S. O’Neill (eds), The Psychology
Body Dressing, Oxford: Berg, pp. 79–102. of the Girl with the Dragon Tattoo: Understanding
Kaiser, S.B., Freeman, C.M. and Chandler, J.L. (1993), Lisbeth Salander and Stieg Larsson’s Trilogy, Dallas,
‘Favorite Clothes and Gendered Subjectivities: TX: Smart Pop, pp. 1–5.
Multiple Readings’, Studies in Symbolic Interaction, 15, Rutledge, P. (2011), ‘Resilience with a Dragon Tattoo’, in
pp. 27–50. R.S. Rosenberg and S. O’Neill (eds), The Psychology
Kierkegaard, S. ([1844] 1981), The Concept of Anxiety of the Girl with the Dragon Tattoo: Understanding
(trans. Reidar Thomte), Princeton, NJ: Princeton Lisbeth Salander and Stieg Larsson’s Trilogy, Dallas,
University Press. TX: Smart Pop, pp. 214–231.
Larsson, S. (2009), The Girl with the Dragon Tattoo Silverstein, M. (2011), ‘The Pornification of Lisbeth
(trans. Reg Keeland), New York: Vintage Crime/Black Salander’, Indiewire, 8 June, http://blogs.indiewire.com/
Lizard. womenandhollywood/the_pornification_of_lisbeth_
Larsson, S. (2010a), The Girl Who Played with Fire salander#. Accessed 20 December 2011.
(trans. Reg Keeland), New York: Vintage Crime/Black Surkan, K. (2012), ‘The Girl Who Turned the Tables: A
Lizard. Queer Reading of Lisbeth Salander’, in Eric Bronson
Larsson, S. (2010b), The Girl Who Kicked the Hornet’s (ed), The Girl with the Dragon Tattoo and Philosophy:
Nest (trans. Reg Keeland), New York: Alfred A. Knopf. Everything Is Fire, Hoboken, NJ: John Wiley & Sons,
Lindgren, A. ([1945] 2007), Pippi Longstocking (trans. pp. 33–46.
Tiina Nunnally), London: Viking. Tulloch, C. (2010), ‘Style-Fashion-Dress: From Black to
Little, L. (2011), ‘“The Girl with the Dragon Tattoo” Post-Black’, Fashion Theory, 14:3, pp. 361–386.
H&M Clothing Line Under Attack’, ABC News, Van Meter, J. (2011), ‘Rooney Mara: Playing with Fire’,
16 December, http://abcnews.go.com/Business/ Vogue, 17 October, http://www.vogue.com/magazine/
girl-dragon-tattoo-clothing-line-launches-criticism/ article/rooney-mara-playing-with-fire/. Accessed 20
story?id=15165315#.TwNoY5jlBUQ. Accessed 20 December 2011.
December 2011. VanZanten, V. (2011), ‘Creating Lisbeth: Five Minutes
Lo, D. (2011), ‘The Girl with the Dragon Tattoo’s Lisbeth with Costume Designer Trish Summerville’, W
Salander-Inspired H&M Collection Will Launch Magazine, 14 February, www.wmagazine.com/w/
December 14th’, Glamour, 26 October, http://www. blogs/editorsblog/2011/02/14/creating-lisbeth-five-
glamour.com/fashion/blogs/slaves-to-fashion/2011/10/ minutes.html. Accessed 20 December 2011.
the-girl-with-the-dragon-tatto.html. Accessed 20 YouTube Commentators (2011), Comments posted
December 2011. in response to Stateofstylechannel (2011),
Matheson, L. (2011), ‘Divinely Attired’, Ph.D., University ‘ENGLISH: H&M Dragon Tattoo Collection by
of California, Davis. Trish Summerville’, November, www.youtube.com/
McLaren, P. (2000). ‘Paulo Freire’s Pedagogy of all_comments?threaded=1&v=1e3OfLUV-Kc. Accessed
Possibility’, in S.F. Steiner, H.M. Krank, P. McLaren 10 October 2012.
Read on…
Susan B. Kaiser | University of California at Davis Contributor, Fashion in Popular Culture: Literature, Media and
Contemporary Studies, ISBN 9781841507163
35
Fashion
Interview
Socks and sustainability
36
Interview
Do you believe fashion studies will ever gain the broad range of disciplines to be represented – art
respect of the Academy and be treated as an equal to and anthropology to business and marketing. We
science, medicine, and technology, or even gain the produce three issues a year and plan on having
respect that other more established areas within the special focus issues.
humanities have attained? My other project is with two of my colleagues
It is respected in some arenas, and as a whole in Hawaii. We are writing Honolulu Street Style, a
fashion is starting to become a respected book that will examine – visually and analytically
discipline, especially as it becomes inter- and – the types and meaning of local fashion. Not the
cross-disciplinary and people are studying it from typical Aloha shirt – though that will be mentioned
different perspectives (e.g. anthropology, sociology, – but the other styles that Hawaii does well, like
psychology, marketing, etc.) It hasn’t been respected beachwear and ethnically inspired dress. Hawaii
for decades because fashion has been thought of has been the birthplace of board shorts, flip flops
as the domain of women, and (incorrectly) viewed (‘rubber slippers’), Casual Friday, and the launching
as frivolous and vain. The sciences were often the point for Asian-style tattoos to the West. It is more
areas dominated by men. But if you look at history, than just brightly coloured shirts.
fashion and stylish dress were part of the male
repertoire for centuries. Louis XIV was so infatuated What do you perceive to be the hot topics in fashion
with clothing that not only did he establish trends in and popular culture, and what do you think will be
France, he also brought the industry to Paris. important over the coming years?
I think menswear has been neglected in the Right now sustainability is the big issue and I
study of fashion because people erroneously hope (and think) it will continue to be a big issue.
believed men weren’t interested in fashion. That Our earth is so damaged that we need to really
is what prompted me to do my first book, Men’s examine how we can change our ways of behaving.
Fashion Reader – I wanted to challenge people’s Disposable fashion is one way to do this. As
assumptions and give legitimacy to this area of theorists, professionals and consumers, we need
study. to find ways to change our wasteful consumption
patterns and find balance.
You are an integral member of the International The other big issue is health and fashion.
Textile and Apparel Association (ITAA). Can you tell Fashion and our concerns for our appearance affect
us a bit about the association and its mission? our mental and physical health. Just look at the
The International Textile and Apparel Association modelling industry and how the desire to be thin
is an organization of scholars, instructors and and desired affects not only professional models but
practitioners dedicated to promoting fashion studies, young (and middle-aged and older) people to either
supporting its members, and exchanging ideas feel poorly about themselves or try potentially
about the meanings and possibilities of fashion and harmful, quick-fix solutions.
dress. They have meetings, annuals and publish the
quarterly Clothing and Textiles Research Journal. In Do you have any favourite looks or preferred
November 2012 I hosted the organization in Waikiki. designers?
It was a conference three years in the making; a lot I like things that are a surprise; something typical
of work, but definitely worth it. but with a twist. I like to wear shirts by a local
firm Tori Richard. They design beautiful silk tops
Could you tell us a little bit about your forthcoming with embroidered backs. From the front they look
projects and what we can expect from them? conservative, but once you turn around, pow! They
I am currently editing Critical Studies in Men’s are works of art. They sometimes have hidden
Fashion. The first issue will be out in autumn 2013. details in the pockets – and I like that because it’s a
My goal is to provide a space for scholars and surprise. I also like colourful, creative socks, for that
people interested in men’s fashion and dress to matter. You can dress conservatively, but a fun sock
have a place where they can publish and find other can be your bit of whimsy. And then, well, let’s just
informative, peer-reviewed manuscripts. I want the say they know my name at Prada...
Read on…
Andrew Reilly | University of Hawaii, Mānoa
Editor: Critical Studies in Men’s Fashion, ISSN 2050070X
37
Editorial
Fashion
Auction
prices of fashion
collectibles
What do they mean?
38
Auction prices
1000 euros. Four items sold for more than 5000 collectibles is an association with the fine arts.
euros. Only one item sold for over 10,000 euros. Working in the 1930s when the surrealist movement
The London auction was more successful, but was at its height, Schiaparelli collaborated with
again very few items obtained high prices (Christie’s surrealist artists and attempted to apply the
2011b). The average price of the items was 4053 principles of surrealism to fashion design (Martin
euros. Approximately 48 per cent of the items sold 1987). The jacket that obtained the record price
for over 1000 euros, but only the highest price was decorated with embroidery designed by Jean
in the Paris auction, 13,631 euros, was paid for a Cocteau, a leading surrealist artist, and carried his
dress designed by Yves Saint Laurent – one of the signature embroidered in pink thread.
most important French, post-war designers – at The second highest price (34,689 euros) in the
the beginning of his career when he was employed London auction was obtained by a dress designed by
by Dior. The highest price in the London auction Yves Saint Laurent in 1966. The auction price of the
(73,961 euros) was attained by a dress designed Yves Saint Laurent dress benefited from the way
by Dior in 1948. By contrast, paintings by abstract in which the dress alluded to the arts, specifically
expressionists created in the 1940s were virtually Saint Laurent’s use of a familiar motif from the
worthless then but are now worth millions (Crane work of the Dutch abstract artist Piet Mondrian.
1987). Saint Laurent did not collaborate with artists, but
A major factor, which influences the price of he incorporated themes from the works of major
fashion collectibles, is celebrity validation. Dresses artists, such as Matisse and Picasso, in his couture
worn by former movie stars may be auctioned for designs. Nevertheless, the auction prices of his
prices as high as important artworks. In 1999, a dress designs are nowhere near the auction prices of post-
made to order by an unknown designer for Marilyn war creators of comparable stature in the fine arts.
Monroe was auctioned for 1.78 million euros (Le Significantly, designs created by Paco Rabanne,
Monde2 2007). In July 2011, the white dress that who is considered to be one of the most innovative
Marilyn Monroe wore in the famous scene in The designers of the post-war period (Kamitsis 1996),
Seven Year Itch was auctioned for 3.54 million euros have been much less successful in the auction
in the United States (Le Monde 2011). market. Rabanne’s creations are avant-garde in
Other examples of celebrity validation include: the context of fashion design, but they do not
(a) a dress designed by the French couturier incorporate themes or motifs from the fine arts.
Givenchy and worn by Audrey Hepburn in the In a recent auction (Artcurial 2012a) of fashion
film Breakfast at Tiffany’s was auctioned for collectibles created by Paco Rabanne, only two
approximately 681,000 euros in 2006 (Reier 2007); out of 73 dresses attained a price over 5000 euros
(b) a dress worn by Princess Diana shortly before (Artcurial 2012b). They sold for 6880 euros and
her marriage to Prince Charles was auctioned in 10,000 euros, respectively. According to Christie’s
London for £192,000 in 2010 (International Herald director of costumes and textiles, an exceptionally
Tribune 2010); and (c) a dress owned by Elizabeth expensive fashion collectible ‘ties the object into
Taylor was auctioned in New York for $362,500 in popular culture and historical movements’ (Menkes
2011 (Anon. 2011). 2011).
Why is celebrity validation so important in These statistics raise the question why the
auction sales of fashion collectibles? One hypothesis prices of contemporary art are so high, while the
is that celebrity validation is important when many prices of fashion collectibles are so low. In the post-
buyers are not familiar with the aesthetic criteria war period, the art world has built an increasingly
for evaluating collectibles. As a result, items with elaborate set of institutions for selling art. The
high aesthetic value may be ignored in favour of number of art collectors has soared. In major art
items with similar or lesser aesthetic value, which centres, such as New York, Paris, London and Berlin,
have been associated with celebrities. Comparable the numbers of art galleries have steadily increased.
behaviour sometimes occurs in antique markets. The art world is now global; an increasing number
For example, newly wealthy Chinese buying of galleries have offices in several countries and
antique Chinese vases at auction prefer items that successful or would-be successful artists exhibit in
have formerly been owned by famous collectors galleries on three continents. International art fairs,
(Melikian 2011). such as ArtBasel and ArtBasel Miami Beach, bring
To date, the highest auction prices for fashion together artists, collectors and dealers for short
collectibles without celebrity validation have been periods where many major sales take place.
attained by pieces designed by well-known, pre-war By contrast, the infrastructure for selling fashion
French couturiers. The highest price for a pre-war collectibles is relatively underdeveloped. Few art
fashion collectible (175,000 euros) was obtained galleries handle fashion collectibles. Auctions of
in 2009 for a jacket designed by Elsa Schiaparelli fashion collectibles are relatively rare. It is difficult
(Druout-Richelieu 2009). to estimate the numbers of private collectors, but
The Schiaparelli sale indicates that a second collectors whose collections consist of clothing
explanation for high auction prices of fashion that was not acquired for their own use are unlikely
39
Fashion
to be numerous. Christie’s, which names owners ____ (2012b), ‘Results for sale 2075, Paco Rabanne
of objects auctioned in its sales, mentioned only “Fashion Materials”’, http://www.artcurial.com.
five collectors for 82 objects in its December 2011 Accessed 4 February 2012.
fashion auction. Museums are the main market for Azimi, R. (2008), ‘L’insatiable appétit des
fashion collectibles, but their funds are limited. collectionneurs des pays émergents’, Le Monde
Another less obvious but important factor argent!, 20–21 January, p. 2.
that influences the prices for fashion collectibles is Bellet, H. and de Roux, E. (2007), ‘Les nouveaux
gender. Fashion is a medium that primarily serves to collectioneurs’, Le Monde, 17 July, p. 2.
enhance the attributes of women. This may explain Bénaïm, Laurence (1992), ‘Des griffes sous le marteau’,
the apparent dearth of private collectors who Le Monde, 7 April, p. 22.
tend to be male. For example, most art collectors Christie’s (2011a), ‘Sale 3139 fashion’, South Kensington,
are male, or the male member of a heterosexual London, 1 December, www.christies.com. Accessed 6
couple, who actually pays for the collectibles and February 2012.
presumably makes the final decisions concerning ____ (2011b), ‘Results for sale 3139, fashion’, www.
what will or will not be purchased (Esterow 2008).3 christies.com. Accessed 6 February 2012.
It is also significant that, in the contemporary art Crane, Diana (1987), The Transformation of the Avant-
world, paintings by women sell for much less than Garde: The New York Art World, 1940–1985, Chicago:
those by men, both in art galleries and in the auction University of Chicago Press.
market. In a list, compiled by the author in 2008, of Druout-Richelieu (2009), ‘SVV Million Cornette de
52 post-war artists whose work had been auctioned Saint Cyr’, 3 July, http://www.druout.com. Accessed 4
for over one million dollars, only four were women. February 2012.
Will fashion collectibles increase in value in Esterow, M. (2008), ‘The ARTnews 200 top collectors:
the future? Should they be considered a promising The ship sails on’, ARTnews, summer, pp. 121–135.
investment that will be profitable for collectors in Geczy, Adam and Karaminis, Vicki (eds) (2012), Fashion
the long run? The answer will probably depend in and Art, Oxford: Berg.
part on the extent to which the aura of femininity Gonzalez, Ana Marta (2010), ‘On fashion and fashion
that surrounds them can be transformed from discourses’, Critical Studies in Fashion & Beauty, 1:1,
a liability into an asset. The value of fashion pp. 65–85.
collectibles will also depend on recognition of the International Herald Tribune (2010), ‘People’, 10 June,
aesthetic qualities of fashion collectibles, apart from p. 14.
their associations with the fine arts. This would Kamitsis, Lydia (1996), Paco Rabanne: Le sens de la
entail a transformation in the status of collectibles recherche/A Feeling for Research, Paris: Editions
that have a useful purpose to one in which crafts are Michel Lafon, pp. 7, 50.
on an equal footing with the arts. Martin, Richard (1987), Fashion and Surrealism, New
York: Rizzoli.
Endnotes Melikian, Souren (2011), ‘Scooping up the trophies’,
1 Both fashionable clothing and fashion collectibles International Herald Tribune, 16–17 July, p. 16.
need to be distinguished from ‘clothes art’, pieces of Menkes, Suzy (2011), ‘Vintage fashion on the auction
clothing that are deliberately created so as not to block’, www.nytimes.com/2011/11/29/fashion. Accessed
be worn (Wollen et al. 1998). They are intended for 6 February 2012.
exhibition in art galleries. Le Monde (2011), ‘4.6 million de dollars pour la robe de
Marilyn dans “Sept ans de réflexion”’, 21 June, p. 23.
2 Previously, fashion collectibles were included in the Le Monde2 (2007), ‘Marilyn and “Mister President”’,
Victoria and Albert Museum in London as early as 1852 May, p. 61.
and in The Costume Institute, which was created in Reier, S. (2007), ‘Collecting fuelled by personal
1944 in the Metropolitan Museum in New York. passions’, International Herald Tribune, 19–20 May,
pp. 18–19.
3 In a list of the world’s top 200 collectors published Sabbah, C. (2008), ‘Une pause salutaire?’, Le Monde,
by Artnews, less than 10 per cent were single women. 20–21 January, p. 2.
Steele, Valerie (2008), ‘Museum quality: The rise of
References the fashion exhibition’, Fashion Theory, 12, pp. 7–30.
Anon. (2011), ‘Buying frenzy greets Liz Taylor dresses Tseëlon, Efrat (2012), ‘Authenticity’, in A. Geczy and V.
auction’, 12 December, www.gg2.net. Accessed 6 Karaminis (eds), Fashion and Art, Oxford: Berg, pp.
February 2012. 111–122.
Artcurial (2011), ‘Results for sale 1967, haute-couture Wollen, Peter and Hayward Gallery (1998), Addressing
– Alaïa’, http://www.artcurial.com. Accessed 10 July the Century: 100 Years of Art and Fashion, London:
2011. Hayward Gallery Publishing.
____ (2012a), ‘Paco Rabanne: Fashion materials’, Vente
no. 2075 (catalogue), Paris: Artcurial.
Read on…
Diana Crane | University of Pennsylvania
Co-editor of Critical Studies in Fashion & Beauty ISSN 20404417
Contributor: Critical Studies in Fashion & Beauty, Volume 1, ISBN 9781841506487
40
Read on
Coming soon:
International Journal of Fashion Studies, edited by Emanuela Mora
Mumbai Street Style by Toni Johnson-Woods and Vicki Karaminas
Honolulu Street Style by Andrew Reilly, Malie Moran and Attila Pohlmann
Read on…
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