Unpacking The Fashion Industry

First Published in 1990 Unpacking the Fashion Industry spotlights a side of the industry the consumer never sees. What is the fashion clothing industry really like? What lies behind the glamour of the cat-walks and the glossy magazines? Annie Phizacklea focuses on the small firm sector of fashionwear production, based predominantly on ethnic entrepreneurship and cheap female labour and analyses the complex interaction of gender, class and racism in this sector of the industry. This book is a must read for scholars and researchers of sociology, gender studies and social anthropology.

The author examines the gender, race and class relations that underpin the production of women's fashionwear in the UK, and in particular, the experience of homeworkers.

Less than three decades ago, when the Chinese bought cloth or clothes, they would have had to use a government-issued coupon. Today the Chinese fashion industry is one of the most dynamic in the world - it not only supplies fashions to the increasingly discerning domestic market, but also provides one-third of the clothing sold in the global market. How did this phenomenal transition come about? What can the growth of the Chinese fashion industry tell us about the post-Mao China? What roles do the local and the global play in the dramatic changes? This book offers a historically informed, ethnographically grounded and interpretive analysis of contemporary Chinese fashion and the fashion industry. It examines the interplay of state politics, market forces, local social and cultural factors, and the global political economy, both in the rise of the Chinese fashion industry and in the life and work of Chinese fashion professionals. As the first ethnographic account of the Chinese fashion industry in the post-Mao era, The Chinese Fashion Industry combines first-hand accounts with sophisticated cultural analysis to offer new insights, and will be of interest to students and scholars of fashion, anthropology and China.

This book tells the story of fashion workers engaged in the labor of design and the material making of New York fashion. Christina H. Moon offers an illuminating ethnography into the various sites and practices that make up fashion labor in sample rooms, design studios, runways, factories, and design schools of the New York fashion world. By exploring the work practices, social worlds, and aspirations of fashion workers, this book offers a unique look into the meaning of labor and creativity in 21st century global fashion. This book will be of interest to scholars in design studies, fashion history, and fashion labor.

Drawing on the experiences of four major EC countries, this book documents the way computer technology has changed the pattern of women's work in the manufacturing sector. The sixteen contributors are leading authorities on the subject and analyse how technology has transformed employment in the clothing industry, which is still the major employer of female blue-collar workers in the EC. The contributors assess the aspects of computerisation that particularly affect women's employment opportuni- ties: flexible hours, flexible work locations and flexible specialisation. The book also contains evaluations of post-Fordism and human-centred technology, two leading issues in the debate about the applications of artificial intelligence and computer-aided technology. These essays highlight a growing polarisation in the job market and suggest training schemes which can equip women for technical and managerial employment. This is a pioneering work; so far, most of the literature on women and computerisation has focussed on office automation and data processing. Computer-aided Manufacturing and Women's Employment makes an important contribution to the fields of technology, employment, women's work, business management and trade union studies.

Following on from the ground-breaking collection Fashion Cultures, this second anthology, Fashion Cultures Revisited, contains 26 newly commissioned chapters exploring fashion culture from the start of the new millennium to the present day. The book is divided into six parts, each discussing different aspects of fashion culture: Shopping, spaces and globalisation Changing imagery, changing media Altered landscapes, new modes of production Icons and their legacies Contestation, compliance, feminisms Making masculinities Fashion Cultures Revisited explores every facet of contemporary fashion culture and the associated spheres of photography, magazines and television, and shopping .Consequently it is an ideal companion to those interested in fashion studies, cultural studies, art, film, fashion history, sociology and gender studies.

An exploration of the world of fashion covers history, production, design, innovation, advertising, psychology, geography, and influence.

Ordinary clothes have extraordinary stories. In contrast to academic and curatorial focus on the spectacular and the luxurious, Everyday Fashion makes the case that your grandmother's wardrobe is an archive as interesting and important as any museum store. From the moment we wake and get dressed in the morning until we get undressed again in the evening, fashion is a central medium through which we experience the world and negotiate our place within it. Because of this, the ways that supposedly 'ordinary' and 'everyday' fashion objects have been designed, manufactured, worn, cared for, and remembered matters deeply to our historical understanding. Beginning at 1550 – the start of an era during which the word 'fashion' came to mean stylistic change rather than the act of making – each chapter explores the definition of everyday fashion and how this has changed over time, demonstrating innovative methodologies for researching the everyday. The variety and significance of everyday fashion cultures are further highlighted by a series of illustrated object biographies written by Britain's leading fashion curators, showcasing the rich diversity of everyday fashion in British museum collections. Collectively, this volume scratches below the glossy surface of fashion to expose the mechanics of fashion business, the hidden world of the workroom and the diversity and role of makers; and the experiences of consuming, wearing, and caring for ordinary clothes in the United Kingdom from the 16th century to the present day. In doing so it challenges readers to rethink how fashion systems evolve and to reassess the boundaries between fashion and dress scholarship.