New York: Bard Graduate Center.īennett, Jane. French Fashion, Women, and the First World War. London and New York: Verso Books.īass-Krueger, Maude, and Sophie Kurkdjian, eds. Non-Places: Introduction to an Anthropology of Supermodernity. The New York Times, October 4.Īugé, Marc. Durham, NC: Duke University Press, 2010), help us to foster a connection to work and workers that doesn’t prioritize the freedom of the consumer?ĥ Coats at Callot’s Are Short. How does seeing clothing as “vibrant matter,” in the political theorist Jane Bennett’s words, with the ability to “animate, to act, to produce effects dramatic and subtle” (Bennett, Vibrant Matter: A Political Ecology of Things. Rather, we’re wondering what happens when we think about fashion not just as a commodity, or even as a thing, but as animate or lively material.
In each instance, we ask, what are the properties of this mass? Who does the work of transforming this undifferentiated mass into something else? And what does recognizing that work do, not just for consumer desires, but for workers themselves? In asking these questions, we are less interested in determining whether clothes can feel or if we can feel through clothing.
The first involves disembodied clothes hanging in a warehouse the second concerns a French couture dress that carries a strong uneasy feeling. In this chapter, we share two different encounters with clothing, both of which begin with the provocation that a fully realized high-fashion garment is, from a certain perspective, just an undifferentiated mass.
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