This study utilises the framework on global China as method (Franceschini and Loubere 2020) to in... more This study utilises the framework on global China as method (Franceschini and Loubere 2020) to investigate the intricate network of connections and innovative exchange between creatives in Singapore, Vietnam, and Cambodia, and their compelling engagement with China across vaious facets of the fashion industry. It elucidates the intricate connections between SEA creatives and China highlighting the multifaceted ways in which China's rise impacts and is influenced by global processes of the fashion industry.
An issue on Global Fashion is very much needed given the crucial transition facing the discipline... more An issue on Global Fashion is very much needed given the crucial transition facing the disciplines of fashion in recent times, in the attempt to give an account of the increasing complexity of the material and symbolic flows of fashion. No other form of commerce, arguably, can claim to be more pervasive throughout the globe than the textile and apparel business, and no other visual culture is more pervasive than fashion. But global fashion is not simply about the global dissemination of dress and fashion. For most fashion theorists, global fashion should not be defined merely as brand circulation or the international expansion of Western fashion. What is more, the interchanges of fashion imply an understanding of the circulation of technologies, objects, and ideas around fashion.
The Wereldmuseum Rotterdam is planning to hold an exhibition on China in 2023 in which fashion an... more The Wereldmuseum Rotterdam is planning to hold an exhibition on China in 2023 in which fashion and design are one of the exhibiting categories. In preparation for the event, the museum is proposing to use the cliche Made in China as a provocative title for the exhibition. A workshop with the museum curators was held in 2021 to question the materiality central to the stereotypes associated with the proposed phrase to inform the curatorial direction of the forthcoming exhibition. As a workshop contributor invited to address the inquiry, I have, in this article, examined the phrase itself and China as a place, heritage and concept. The country-of-origin effect of the “made in” label was taken to analyze the phrase. While the negative connotations of Made in China in the exhibition title might have an impact on the perception of the exhibition, two interlocking components—transcultural dynamics and a site of friction—arising from the labeling system constitute a cura- torial concept within which Chineseness embedded in the museum fash- ion and design artifacts are the offspring of the typified multifaceted “China” exchange, connection, and transformation.
"Global China" aims to highlight the complex entanglement of China and fashion-making in the tran... more "Global China" aims to highlight the complex entanglement of China and fashion-making in the transglobal landscape (Ling and Segre-Reinach 2018). This has to do with fashion in, for, with, and of China, but more specifically, we consider the idea of Global China as a concept by analyzing the emergent features in fashion and the fashion industry in the 21st century. Our aim is to mark post-reform China as a baseline to reframe the cultural and economic context of global fashion (Ling and Segre-Reinach 2019).
An issue on Global Fashion is very much needed given the crucial transition facing the discipline... more An issue on Global Fashion is very much needed given the crucial transition facing the disciplines of fashion in recent times, in the attempt to give an account of the increasing complexity of the material and symbolic flows of fashion. No other form of commerce, arguably, can claim to be more pervasive throughout the globe than the textile and apparel business,1 and no other visual culture is more pervasive than fashion. But global fashion is not simply about the global dissemination of dress and fashion. For most fashion theorists, global fashion should not be defined merely as brand circulation or the international expansion of Western fashion. What is more, the interchanges of fashion imply an understanding of the circulation of technologies, objects, and ideas around fashion
How does global fashion factor into a reconfiguration of the dress and textile collection in the ... more How does global fashion factor into a reconfiguration of the dress and textile collection in the ethno-graphic museum, and vice versa? What role do global histories play in reshuffling museum collections at this moment of cultural change? In what ways can global fashion be considered part of the grand global narrative? And to what extent can it be used as a tool in the grand scheme of museum collection, narration, curation and presentation in the ethnographic setting? This article scrutinizes these questions by analyzing the operations of ethnographic museums in diverse and multicultural societies. It uses global fashion as a tool in the conceptual and everyday handling of ethnographic artifacts. Here, global fashion does not point to a stylistic form of dress in a given locality. Indeed, our study expands on the work of Ling and Segre Reinach, who determined that fashion-making allows for multiple layers of world encounters involving intriguing cultural dynamics, and applies it to museum operations. The National Museum of World Cultures, the Netherlands, is taken as a case in point, through which archival research findings are analyzed to underpin global histories and explore global fashion as a conceptual framework for museum practice. We conducted qualitative research via an internal workshop on Global Fashion/Narrative in the Ethnographic Museum (Jan 2019) in which sixteen museum cu-ratorial professionals assessed global fashion as a tool for museum practice in an ethnographic setting. The aim of this study is to propose global fashion as an interdisciplinary conceptual framework for museum practice in, but not exclusive to, the dress and textile venues.
The 'making' of fashion cannot merely refer to garment production and manufacturing. It is the pr... more The 'making' of fashion cannot merely refer to garment production and manufacturing. It is the prerequisite for a nation to actively participate on the global stage. To establish a 'recognisable' fashion image, a country must go far beyond the competition of a specialised garment and textile industry. Being recognised as the 'author countries' for fashion creation is part of a process in which the (re)negotiation of national hierarchies and roles are constantly at play. For a country or a city, expressing an instantly recognis-able aesthetic has become an important corollary of the communication of political and economic strength. More than in the past centuries, fashion has been tasked with not only reflecting and representing social or individual needs, but also constructing ex novo territories in which old stereotypes and imaginary are creatively set free. This is because, unlike most production and commercial activities, fashion expresses an elaborate culture whose composition of symbols, ideologies and lifestyles (Crane 2004) can be drawn on. On the other hand, the accelerated production relocation in past decades has irrevocably changed the geography of fashion, as well as the rhetoric of the origin of national creativity. In particular, it leads one to wonder what happens when two or more players are engaged in the making of fashion. Specifically, what happens when Italy and China collaborate in transglobal fashion-making? How does one account for the national creativity that has sprung from the Sino-Italian co-creation? Drawing on accounts of Italian fashion and Chinese fashion, this article discusses the intricacy of Sino-Italian collaboration and the implications of such a fashion co-creation; it then reflects on transglobal fashion-making and proposes a framework for its examination.
How does global fashion factor into a reconfiguration of the dress and textile collection in the ... more How does global fashion factor into a reconfiguration of the dress and textile collection in the ethno-graphic museum, and vice versa? What role do global histories play in reshuffling museum collections at this moment of cultural change? In what ways can global fashion be considered part of the grand global narrative? And to what extent can it be used as a tool in the grand scheme of museum collection, narration, curation and presentation in the ethnographic setting? This article scrutinizes these questions by analyzing the operations of ethnographic museums in diverse and multicultural societies. It uses global fashion as a tool in the conceptual and everyday handling of ethnographic artifacts. Here, global fashion does not point to a stylistic form of dress in a given locality. Indeed, our study expands on the work of Ling and Segre Reinach, who determined that fashion-making allows for multiple layers of world encounters involving intriguing cultural dynamics, and applies it to museum operations. The National Museum of World Cultures, the Netherlands, is taken as a case in point, through which archival research findings are analyzed to underpin global histories and explore global fashion as a conceptual framework for museum practice. We conducted qualitative research via an internal workshop on Global Fashion/Narrative in the Ethnographic Museum (Jan 2019) in which sixteen museum cu-ratorial professionals assessed global fashion as a tool for museum practice in an ethnographic setting. The aim of this study is to propose global fashion as an interdisciplinary conceptual framework for museum practice in, but not exclusive to, the dress and textile venues.
Ling, Wessie, Lorusso, Mariella, Segre Reinach, Simona (2019) Critical Studies in Global Fashion,... more Ling, Wessie, Lorusso, Mariella, Segre Reinach, Simona (2019) Critical Studies in Global Fashion, in eds. Wessie Ling, Mariella Lorusso, Simona Segre Reinach, Global Fashion, Zone Moda Journal, 9(2), pp. V-XVI.
This special issue offers, for the first time, the innovative and original perspective of Italian... more This special issue offers, for the first time, the innovative and original perspective of Italianerie in the quest for transculturality and co-creation. It examines the Asian reception, fascination with and reinvention of Italy in fields such as architecture, cinema, literature, fashion, digital media and geography, as well the Italian reception, fascination with and reinvention in the same fields of inquiry, through an in-depth analysis which underlines transcultural adaptation and interrelated processes of power between Italy and Asia.
Ling, Wessie and Segre Reinach, Simona (2019) Fashion-Making and Co-Creation in the Transglobal L... more Ling, Wessie and Segre Reinach, Simona (2019) Fashion-Making and Co-Creation in the Transglobal Landscape: Sino-Italian Fashion as Method, in special issue, eds. Maurizio Marinelli and Wessie Ling, Italianerie: Transculturality, Co-creation and Transforming Identities between Italy and Asia, Modern Italy, 24(4), pp. 401-415.
Marinelli, Maurizio and Ling, Wessie (2019) Italianerie: Transculturality, Co-creation and Transf... more Marinelli, Maurizio and Ling, Wessie (2019) Italianerie: Transculturality, Co-creation and Transforming Identities between Italy and Asia, Special issue, eds. Marinelli, Maurizio and Ling, Wessie, Modern Italy, 24(4), pp. 363-367.
2018, ‘Bag of Remembrance: A Cultural Biography of Red-White-Blue, from Hong Kong to Louis Vuitto... more 2018, ‘Bag of Remembrance: A Cultural Biography of Red-White-Blue, from Hong Kong to Louis Vuitton’, in Reggie Blaszczyk and Veronique Pouillard (eds.), European Fashion: The Creation of a Global Industry, Manchester: Manchester University Press, pp. 283-301.
2017, 'Nationalism, Women and their China: What more the Chinese talk about when they talk about ... more 2017, 'Nationalism, Women and their China: What more the Chinese talk about when they talk about the qipao?' in Document. Techstyle Series 1.0 Ariadne's Thread, pp. 92-101. Hong Kong: Centre for Heritage, Arts and Textile.
2016, ‘Korea Vs Paris: There is no Fashion, Only Image or How to Make Fashion Identity’, in Roy M... more 2016, ‘Korea Vs Paris: There is no Fashion, Only Image or How to Make Fashion Identity’, in Roy Menarini (ed.) Cultures, Fashion and Society's Notebook, pp. 1-14. Milan-Turin: Bruno Mondador.
2008, 'Vers une nouvelle esthétique diasporique : espaces et modalités du travail des créateurs d... more 2008, 'Vers une nouvelle esthétique diasporique : espaces et modalités du travail des créateurs de mode étrangers à Paris', in Isabelle Pareys (ed.) Paraitre et Apparences en Europe occidentale du Moyen Age a nous jour, Villeneuve d’Ascq: Presses Universitaries du Septentrion, pp. 331-46, ISBN: 978-2-85939-996-2.
2009, 'Harmony and concealment: How Chinese women fashioned the Qipao in 1930s China', Beth Tobin... more 2009, 'Harmony and concealment: How Chinese women fashioned the Qipao in 1930s China', Beth Tobin and Margaret Goggin (eds.), Material Women: Consuming Desires and Collecting Objects 1770-1950, Ashgate, pp. 259-284, ISBN: 978-0-7546-6539-7.
2007, Special issue on ‘Fashioning Society’, Christian Huck (ed), Journal for the Study of Britis... more 2007, Special issue on ‘Fashioning Society’, Christian Huck (ed), Journal for the Study of British Cultures, 14(2), pp. 141-51, ISSN: 0944-9094.
2012, ‘Chinese Modernity, Identity and Nationalism: The Qipao in Republican China’, Jacque Lynn F... more 2012, ‘Chinese Modernity, Identity and Nationalism: The Qipao in Republican China’, Jacque Lynn Foltyn (ed.), Fashions: Exploring Fashion through Culture. Probing the Boundaries at the Interface Series. Oxford: The Inter-Disciplinary Press, pp. 83-94. ISBN: 978-1-84888-015-3.
This study utilises the framework on global China as method (Franceschini and Loubere 2020) to in... more This study utilises the framework on global China as method (Franceschini and Loubere 2020) to investigate the intricate network of connections and innovative exchange between creatives in Singapore, Vietnam, and Cambodia, and their compelling engagement with China across vaious facets of the fashion industry. It elucidates the intricate connections between SEA creatives and China highlighting the multifaceted ways in which China's rise impacts and is influenced by global processes of the fashion industry.
An issue on Global Fashion is very much needed given the crucial transition facing the discipline... more An issue on Global Fashion is very much needed given the crucial transition facing the disciplines of fashion in recent times, in the attempt to give an account of the increasing complexity of the material and symbolic flows of fashion. No other form of commerce, arguably, can claim to be more pervasive throughout the globe than the textile and apparel business, and no other visual culture is more pervasive than fashion. But global fashion is not simply about the global dissemination of dress and fashion. For most fashion theorists, global fashion should not be defined merely as brand circulation or the international expansion of Western fashion. What is more, the interchanges of fashion imply an understanding of the circulation of technologies, objects, and ideas around fashion.
The Wereldmuseum Rotterdam is planning to hold an exhibition on China in 2023 in which fashion an... more The Wereldmuseum Rotterdam is planning to hold an exhibition on China in 2023 in which fashion and design are one of the exhibiting categories. In preparation for the event, the museum is proposing to use the cliche Made in China as a provocative title for the exhibition. A workshop with the museum curators was held in 2021 to question the materiality central to the stereotypes associated with the proposed phrase to inform the curatorial direction of the forthcoming exhibition. As a workshop contributor invited to address the inquiry, I have, in this article, examined the phrase itself and China as a place, heritage and concept. The country-of-origin effect of the “made in” label was taken to analyze the phrase. While the negative connotations of Made in China in the exhibition title might have an impact on the perception of the exhibition, two interlocking components—transcultural dynamics and a site of friction—arising from the labeling system constitute a cura- torial concept within which Chineseness embedded in the museum fash- ion and design artifacts are the offspring of the typified multifaceted “China” exchange, connection, and transformation.
"Global China" aims to highlight the complex entanglement of China and fashion-making in the tran... more "Global China" aims to highlight the complex entanglement of China and fashion-making in the transglobal landscape (Ling and Segre-Reinach 2018). This has to do with fashion in, for, with, and of China, but more specifically, we consider the idea of Global China as a concept by analyzing the emergent features in fashion and the fashion industry in the 21st century. Our aim is to mark post-reform China as a baseline to reframe the cultural and economic context of global fashion (Ling and Segre-Reinach 2019).
An issue on Global Fashion is very much needed given the crucial transition facing the discipline... more An issue on Global Fashion is very much needed given the crucial transition facing the disciplines of fashion in recent times, in the attempt to give an account of the increasing complexity of the material and symbolic flows of fashion. No other form of commerce, arguably, can claim to be more pervasive throughout the globe than the textile and apparel business,1 and no other visual culture is more pervasive than fashion. But global fashion is not simply about the global dissemination of dress and fashion. For most fashion theorists, global fashion should not be defined merely as brand circulation or the international expansion of Western fashion. What is more, the interchanges of fashion imply an understanding of the circulation of technologies, objects, and ideas around fashion
How does global fashion factor into a reconfiguration of the dress and textile collection in the ... more How does global fashion factor into a reconfiguration of the dress and textile collection in the ethno-graphic museum, and vice versa? What role do global histories play in reshuffling museum collections at this moment of cultural change? In what ways can global fashion be considered part of the grand global narrative? And to what extent can it be used as a tool in the grand scheme of museum collection, narration, curation and presentation in the ethnographic setting? This article scrutinizes these questions by analyzing the operations of ethnographic museums in diverse and multicultural societies. It uses global fashion as a tool in the conceptual and everyday handling of ethnographic artifacts. Here, global fashion does not point to a stylistic form of dress in a given locality. Indeed, our study expands on the work of Ling and Segre Reinach, who determined that fashion-making allows for multiple layers of world encounters involving intriguing cultural dynamics, and applies it to museum operations. The National Museum of World Cultures, the Netherlands, is taken as a case in point, through which archival research findings are analyzed to underpin global histories and explore global fashion as a conceptual framework for museum practice. We conducted qualitative research via an internal workshop on Global Fashion/Narrative in the Ethnographic Museum (Jan 2019) in which sixteen museum cu-ratorial professionals assessed global fashion as a tool for museum practice in an ethnographic setting. The aim of this study is to propose global fashion as an interdisciplinary conceptual framework for museum practice in, but not exclusive to, the dress and textile venues.
The 'making' of fashion cannot merely refer to garment production and manufacturing. It is the pr... more The 'making' of fashion cannot merely refer to garment production and manufacturing. It is the prerequisite for a nation to actively participate on the global stage. To establish a 'recognisable' fashion image, a country must go far beyond the competition of a specialised garment and textile industry. Being recognised as the 'author countries' for fashion creation is part of a process in which the (re)negotiation of national hierarchies and roles are constantly at play. For a country or a city, expressing an instantly recognis-able aesthetic has become an important corollary of the communication of political and economic strength. More than in the past centuries, fashion has been tasked with not only reflecting and representing social or individual needs, but also constructing ex novo territories in which old stereotypes and imaginary are creatively set free. This is because, unlike most production and commercial activities, fashion expresses an elaborate culture whose composition of symbols, ideologies and lifestyles (Crane 2004) can be drawn on. On the other hand, the accelerated production relocation in past decades has irrevocably changed the geography of fashion, as well as the rhetoric of the origin of national creativity. In particular, it leads one to wonder what happens when two or more players are engaged in the making of fashion. Specifically, what happens when Italy and China collaborate in transglobal fashion-making? How does one account for the national creativity that has sprung from the Sino-Italian co-creation? Drawing on accounts of Italian fashion and Chinese fashion, this article discusses the intricacy of Sino-Italian collaboration and the implications of such a fashion co-creation; it then reflects on transglobal fashion-making and proposes a framework for its examination.
How does global fashion factor into a reconfiguration of the dress and textile collection in the ... more How does global fashion factor into a reconfiguration of the dress and textile collection in the ethno-graphic museum, and vice versa? What role do global histories play in reshuffling museum collections at this moment of cultural change? In what ways can global fashion be considered part of the grand global narrative? And to what extent can it be used as a tool in the grand scheme of museum collection, narration, curation and presentation in the ethnographic setting? This article scrutinizes these questions by analyzing the operations of ethnographic museums in diverse and multicultural societies. It uses global fashion as a tool in the conceptual and everyday handling of ethnographic artifacts. Here, global fashion does not point to a stylistic form of dress in a given locality. Indeed, our study expands on the work of Ling and Segre Reinach, who determined that fashion-making allows for multiple layers of world encounters involving intriguing cultural dynamics, and applies it to museum operations. The National Museum of World Cultures, the Netherlands, is taken as a case in point, through which archival research findings are analyzed to underpin global histories and explore global fashion as a conceptual framework for museum practice. We conducted qualitative research via an internal workshop on Global Fashion/Narrative in the Ethnographic Museum (Jan 2019) in which sixteen museum cu-ratorial professionals assessed global fashion as a tool for museum practice in an ethnographic setting. The aim of this study is to propose global fashion as an interdisciplinary conceptual framework for museum practice in, but not exclusive to, the dress and textile venues.
Ling, Wessie, Lorusso, Mariella, Segre Reinach, Simona (2019) Critical Studies in Global Fashion,... more Ling, Wessie, Lorusso, Mariella, Segre Reinach, Simona (2019) Critical Studies in Global Fashion, in eds. Wessie Ling, Mariella Lorusso, Simona Segre Reinach, Global Fashion, Zone Moda Journal, 9(2), pp. V-XVI.
This special issue offers, for the first time, the innovative and original perspective of Italian... more This special issue offers, for the first time, the innovative and original perspective of Italianerie in the quest for transculturality and co-creation. It examines the Asian reception, fascination with and reinvention of Italy in fields such as architecture, cinema, literature, fashion, digital media and geography, as well the Italian reception, fascination with and reinvention in the same fields of inquiry, through an in-depth analysis which underlines transcultural adaptation and interrelated processes of power between Italy and Asia.
Ling, Wessie and Segre Reinach, Simona (2019) Fashion-Making and Co-Creation in the Transglobal L... more Ling, Wessie and Segre Reinach, Simona (2019) Fashion-Making and Co-Creation in the Transglobal Landscape: Sino-Italian Fashion as Method, in special issue, eds. Maurizio Marinelli and Wessie Ling, Italianerie: Transculturality, Co-creation and Transforming Identities between Italy and Asia, Modern Italy, 24(4), pp. 401-415.
Marinelli, Maurizio and Ling, Wessie (2019) Italianerie: Transculturality, Co-creation and Transf... more Marinelli, Maurizio and Ling, Wessie (2019) Italianerie: Transculturality, Co-creation and Transforming Identities between Italy and Asia, Special issue, eds. Marinelli, Maurizio and Ling, Wessie, Modern Italy, 24(4), pp. 363-367.
2018, ‘Bag of Remembrance: A Cultural Biography of Red-White-Blue, from Hong Kong to Louis Vuitto... more 2018, ‘Bag of Remembrance: A Cultural Biography of Red-White-Blue, from Hong Kong to Louis Vuitton’, in Reggie Blaszczyk and Veronique Pouillard (eds.), European Fashion: The Creation of a Global Industry, Manchester: Manchester University Press, pp. 283-301.
2017, 'Nationalism, Women and their China: What more the Chinese talk about when they talk about ... more 2017, 'Nationalism, Women and their China: What more the Chinese talk about when they talk about the qipao?' in Document. Techstyle Series 1.0 Ariadne's Thread, pp. 92-101. Hong Kong: Centre for Heritage, Arts and Textile.
2016, ‘Korea Vs Paris: There is no Fashion, Only Image or How to Make Fashion Identity’, in Roy M... more 2016, ‘Korea Vs Paris: There is no Fashion, Only Image or How to Make Fashion Identity’, in Roy Menarini (ed.) Cultures, Fashion and Society's Notebook, pp. 1-14. Milan-Turin: Bruno Mondador.
2008, 'Vers une nouvelle esthétique diasporique : espaces et modalités du travail des créateurs d... more 2008, 'Vers une nouvelle esthétique diasporique : espaces et modalités du travail des créateurs de mode étrangers à Paris', in Isabelle Pareys (ed.) Paraitre et Apparences en Europe occidentale du Moyen Age a nous jour, Villeneuve d’Ascq: Presses Universitaries du Septentrion, pp. 331-46, ISBN: 978-2-85939-996-2.
2009, 'Harmony and concealment: How Chinese women fashioned the Qipao in 1930s China', Beth Tobin... more 2009, 'Harmony and concealment: How Chinese women fashioned the Qipao in 1930s China', Beth Tobin and Margaret Goggin (eds.), Material Women: Consuming Desires and Collecting Objects 1770-1950, Ashgate, pp. 259-284, ISBN: 978-0-7546-6539-7.
2007, Special issue on ‘Fashioning Society’, Christian Huck (ed), Journal for the Study of Britis... more 2007, Special issue on ‘Fashioning Society’, Christian Huck (ed), Journal for the Study of British Cultures, 14(2), pp. 141-51, ISSN: 0944-9094.
2012, ‘Chinese Modernity, Identity and Nationalism: The Qipao in Republican China’, Jacque Lynn F... more 2012, ‘Chinese Modernity, Identity and Nationalism: The Qipao in Republican China’, Jacque Lynn Foltyn (ed.), Fashions: Exploring Fashion through Culture. Probing the Boundaries at the Interface Series. Oxford: The Inter-Disciplinary Press, pp. 83-94. ISBN: 978-1-84888-015-3.
Ling, Wessie (2020) Apparel and Fashion Design in Taiwan, In. eds. Fujitu Haruhiko and Christine ... more Ling, Wessie (2020) Apparel and Fashion Design in Taiwan, In. eds. Fujitu Haruhiko and Christine Guth, Encyclopedia of East Asian Design, London and New York: Bloomsbury, pp. 522-525.
Ling, Wessie (2020) Apparel and Fashion Design in Hong Kong, In. eds. Fujita Haruhiko and Christi... more Ling, Wessie (2020) Apparel and Fashion Design in Hong Kong, In. eds. Fujita Haruhiko and Christine Guth, Encyclopedia of East Asian Design, London and New York: Bloomsbury, pp. 151-154.
W. Ling (2018) Beneath the Co-created Chinese Fashion: Translocal and Transcultural Exchange betw... more W. Ling (2018) Beneath the Co-created Chinese Fashion: Translocal and Transcultural Exchange between China and Hong Kong, in Wessie Ling and Simona Segre Reinach (eds.) Fashion in Multiple Chinas: Chinese Styles in the Transglobal Landscape, London: IB Tauris, pp. 123-49.
W. Ling and S Segre Reinach (2018) Fashion-Making in the Transglobal Landscape, in Wessie Ling an... more W. Ling and S Segre Reinach (2018) Fashion-Making in the Transglobal Landscape, in Wessie Ling and Simona Segre Reinach (eds.) Fashion in Multiple Chinas: Chinese Styles in the Transglobal Landscape, London: IB Tauris, pp. 1-12.
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Papers by Wessie Ling
fashion in recent times, in the attempt to give an account of the increasing complexity of the material
and symbolic flows of fashion. No other form of commerce, arguably, can claim to be more pervasive
throughout the globe than the textile and apparel business,1 and no other visual culture is more pervasive
than fashion. But global fashion is not simply about the global dissemination of dress and fashion. For
most fashion theorists, global fashion should not be defined merely as brand circulation or the international
expansion of Western fashion. What is more, the interchanges of fashion imply an understanding
of the circulation of technologies, objects, and ideas around fashion
fashion in recent times, in the attempt to give an account of the increasing complexity of the material
and symbolic flows of fashion. No other form of commerce, arguably, can claim to be more pervasive
throughout the globe than the textile and apparel business,1 and no other visual culture is more pervasive
than fashion. But global fashion is not simply about the global dissemination of dress and fashion. For
most fashion theorists, global fashion should not be defined merely as brand circulation or the international
expansion of Western fashion. What is more, the interchanges of fashion imply an understanding
of the circulation of technologies, objects, and ideas around fashion
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