European Languages, Literature and related subjects > Russian and East European studies]
This essay considers Moscow’s simultaneously peripheral and central position on the global fashion map. It is predicated on a study of imaginary Russian geographies presented in Vogue and other fashion media, advertisements and promotional activities by important fashion brands, as well as the promotional texts and visuals of several new Russian fashion designers. While these different players all contribute to shaping the imagery of Russian fashion today, their agendas and aesthetics differ. This essay identifies three main approaches within the field of the symbolic production of Russian fashion. Western fashion designers and fashion media mainly rely on Russian imperial sartorial heritage in their orientalising approach to Russian fashion.
Secondly, Russian Vogue perpetuates Moscow’s peripheral international fashion position either by passively transmitting derivative Western representations of Russianness, or by reconstructing its own high-fashion versions of traditional Russian decorative style. Finally, several young Russian fashion designers deconstruct both traditional Russian and socialist iconography.
|Type of Research:||Article|
|Keywords/subjects not otherwise listed:||auto-exoticism, centre, fashion designer, fashion quotation, high-fashion ethnic, orientalism, periphery, picturesque, symbolic production of fashion, Vogue|
|Your affiliations with UAL:||Colleges > London College of Fashion|
Colleges > London College of Fashion
|Copyright Holders:||Springer Science and Business Media B.V. 2011|
|Digital Object Identifier:||10.1007/s11212-011-9138-y|
|Projects or Series:||Research Outputs Review (April 2010 - April 2011)|
|Deposited By:||Prerna Bhatt|
|Deposited On:||26 Jan 2012 10:40|
|Last Modified:||07 Apr 2014 12:41|