As many fashion brands begin to shift their messaging to be more diverse and inclusive, niche communities are forming around the images of the past. Nostalgia marketing is becoming ubiquitous within the industry. Kathryn C. considers how the form of the Instagram moodboard is aestheticizing problematic elements of the past under the guise of “good taste.”
The aesthetic of blue-and-white porcelain, when used by Western designers, is often perceived as a form of neo-chinoiserie that appropriates and bastardizes porcelain in a form of colonial power. The appeal and celebration of Chinese cultural identity in these items suggest that they align better with the history of China and its visual traditions. However, this is a notion that should be challenged.
Diversity should be made intrinsic to a brand’s ethos and an ongoing conversation, not just an aesthetic, after which ads and campaigns go back to lily-white casting once calls for diversity have been quelled.
“Through the looking glass” is a metaphorical expression—albeit, a commonly misunderstood one; it means “on the strange side; in the twilight zone; in a curious, parallel world.” Today, we step through a different type of glass: the Gaultier glass.
The need to wear a face mask, a now vital accessory to shield ourselves and others for the purpose of public health, is the newest phase and symbol of fashion’s intimate relationship to our bodies and lives.
The story of Ranavalona III (1861-1917), the last of the Malagasy queens, and the last monarch of the island nation of Madagascar, is punctuated by complex negotiations of power and colonial hegemony.
Although there are three main theories about the cheongsam’s origin, the most popular originates from the Qing Dynasty, which started in 1644 and lasted until 1912.
How did Black chorus girls claim a “Black is beautiful” aesthetic before the phrase even came into the vernacular?
