The University of Sydney -

Issue No. 16 (2018): Fashioning Performance/Performing Dress, issue editors Rosie Findlay and Amanda Card

The mutual resonances accommodated by performance and fashion – and the respective fields of scholarship devoted to their critique and analysis, performance studies and fashion studies – provide a rich theoretical ground from which the articles in this volume have emerged. Their range and breadth mirror the parallel interests of performance studies and fashion studies in the historical and the contemporary, the political and the decorative, in texts and practices, and in the professional and the everyday. However, at the same time, we encourage readers to attend to the ways in which these concepts merge and flow into one another in these works, indicating towards the messiness and capaciousness of both performance, and fashion and dress. Here we encounter everyday dress as political, fashion shows as anti-Western, fashion images as live performance, costume as material memories of performances past, and an ongoing oscillation between text and self, cloth and body, surface and depth.

Contents

• Introduction, Rosie Findlay and Amanda Card
• Tilda Swinton: Performing Fashion, Karen de Perthuis
• Fashioning Protest: Suffrage as Dressed Performance in New Zealand and the United Kingdom, Harriette Richards
• Model Tote Bag: Advice on How to Perform the Fashionable Self in Post-war Fashion Modelling Literature, Felice McDowell
• The Feeling of the Fake: Antonio Syxty’s Fashion Works in 1980s Milan, Flora Pitrolo
• The Anti-Western Fashion Show: Redressing the Indian Catwalk, Arti Sandhu
• Dressing to Delight: The Spectacle of Costume and the Character of the Fop on the Restoration Stage, 1660-1714, Lyndsey Bakewell
• Sartorial Remembrance: Exploring the Weave Between Costume, Memory, and the Performing Self, Rosie Findlay and Natalia Romagosa