Traveling Fashion. Exoticism and Tropicalism

Alexandra Karentzos Traveling Fashion Exoticism and Tropicalism Alexandra Karentzos 231 Fashion imagines the tropics as flamboyantly colored, wild, and lush nature, an exotic holiday paradise that makes use of exotic clichés. In this essay I will take a closer look at tropicalism and exoticism in fashion and art in Brazil to show how closely entwined they are with one another,1 and will discuss how global, transcultural circulations of fashion lead to deconstruction and new contextualizations. To take this into account, James Clifford’s concept of “traveling culture,”2 which describes culture as an interplay of complex, dynamic processes and practices, embedded in an economy of signs, objects, and spaces, is a starting point from which I will consider fashion as “traveling fashion.” Tropicality—Forms of Exoticism From the outset, the idea of the tropics was considered to be a cultural construct.3 Analogous to Edward Said’s concept of Orientalism, “tropicality” is described by David Arnold in The Tropics and the Traveling Gaze (2005) as the conceptualization and representation of the tropics in the Western imagination and experience.4 Like Orientalism, tropicality is part of a discourse of power that is closely interwoven with the history of colonialism. Mary Louise Pratt describes Alexander von Humboldt, who established the concept of the tropics, as an imperial traveler who mystified South America in his writings and saw it as having a “primal nature.”5 The human is made small compared to the dramatic, wild, and gigantic spectacle of nature.6 This “reinvention of América” is bound up with systems of knowledge.7 In Kosmos – Entwurf einer physischen Weltbeschreibung (1845–62), Humboldt creates colorful scenes of the tropics as “an exotic nature of overwhelming size,”8 and “a painting of nature.”9 The act of perceiving nature is described as an aesthetic pleasure: 1 This essay is a revised version of “Wilde Mode: Exotismus und Tropikalismus,” in Wilde Dinge in Kunst und Design: Aspekte der Alterität seit 1800, ed. Gerald Schröder and Christina Threuter (Bielefeld: transcript, 2017). 2 James Clifford, The Predicament of Culture: Twentieth-Century Ethnography, Literature and Art (Cambridge, MA: Harvard University Press, 1988). 3 Alfons Hug, “Die Tropen: Ansichten von der Mitte der Weltkugel,” in Die Tropen: Ansichten von der Mitte der Weltkugel, ed. Alfons Hug, Peter Junge, and Viola König, exh. cat. Martin-Gropius-Bau (Berlin: Kerber Verlag, 2008), 14. 4 David Arnold, The Tropics and the Traveling Gaze: India, Landscape and Science, 1800–1856 (Seattle: University of Washington Press, 2005); Hanna Büdenbender,“‘Wow, That’s So Postcard!’ De-/Konstruktionen des kolonialen touristischen Blicks auf die Tropen in der zeitgenössischen Fotografie“ (PhD diss., Technische Universität Darmstadt, 2018). 5 Mary Louise Pratt, Imperial Eyes: Travel Writing and Transculturation (New York: Routledge, 1992), 123. 6 Pratt, 118. 7 Pratt, 109–40. 8 Alexander von Humboldt, Kosmos: Entwurf einer physischen Weltbeschreibung (1845–1862), ed. Ottmar Ette, Oliver Lubrich (Frankfurt am Main: Eichborn, 2004), 11. 9 Humboldt, 38. 232 Traveling Fashion: Exoticism and Tropicalism “And what colors, the birds, the fish, even the crabs (sky blue and gold)! […] I will be very happy here and that these impressions will often brighten me in the future.”10 Humboldt associated the tropics, intermeshed with animal and plant life, with intense and rich colors: from multicolored birds like parrots and hummingbirds to brightly colored flowers and fruits. In his Essay on Exoticism: An Aesthetics of Diversity (2002), Victor Segalen identifies four main types of exoticism: 1) A geographical exoticism in which the geographical location is marked as “outside,” indicated by the prefix “exo”; 2) A temporal exoticism that draws its power mainly from an idealized past and is geared toward the future; 3) An exoticism of the “human races”; and 4) A sexual exoticism that emphasizes the fundamental differences between genders.11 The widespread image of Brazil plays with these registers. As Maria Claudia Bonadio has shown, this image of the tropics “as providing the space for a natural paradise” 12 was so potent that it was adopted even in Brazil and reflected on in a critical, ironic way in the art of the 1920s; however, as the nationalist politics of the Estado Novo (New State) took hold during the dictatorship of Getúlio Vargas in the 1930s, the view shifted—the exoticized image of Brazil was praised and promoted enthusiastically:13 in this way, the notions associated with the tropics became part of Brazil’s own national identity.14 Cultural Anthropophagy The concept of “cultural anthropophagy,” which emerged in Brazil in the 1920s, is a potentially fruitful focus to reflect on colonialist power relations. Ideas of cannibalism and anthropophagy (the eating of human flesh) were employed in the colonialist undertaking to highlight the savage inhumanness of other cultures that were labeled “primitive.”15 Brazilian artists appropriated this theme, once used to legitimize colonial strategies of power, by metaphorically turning the idea of anthropophagy on its head. Thus, in his 1928 “Manifesto Antropófago,” the writer Oswald de Andrade called for European influences to be devoured as a way of transforming them into an autonomous Brazilian identity. A vision of a monstrous being with a distorted anatomy appears in the first edition of de Andrade’s manifesto: Tarsila do Amaral’s drawing of a cannibal, Abaporú (which means “man who eats” in the Tupí-Guaraní language ).16 Do Amaral described the subject as “a solitary, monstrous figure, with immense feet sitting on a green plain, one bent arm resting on its knee, the hand supporting the tiny featherweight head. In the foreground, a cactus bursting into an absurd flower.”17 While the clichés firmly attached to the tropical mentioned by do Amaral, at the same time, the hyperbolic monster makes nonsense of them. In the 1960s, the Tropicália movement adopted and recast this form of 233 Alexandra Karentzos cannibalism, giving it an ironic and anti-essentialist twist. It is revealing to relate this de-ontologizing conception to the theoretical constructs of cultural studies and constructivism prevalent today. The “Brazilian Look”—Self-Exoticization Throughout the 1950s, fashion in Brazil was focused on what was happening in Europe: women looked mainly toward the fashion scene in Paris, while men wore more English-style clothing. This orientation is clearly discernible in the magazines of the time.18 Samba singer and Hollywood film star Carmen Miranda had already begun to develop a “Brazilian style” in the 1940s, a style that synthesized exotic clichés, drawing on fruits and dazzling colors, and so reflected the “tourist gaze.” As John Urry has elaborated, the tourist gaze entails subjecting cultural signs to the dictates of economic processes and commodification—national “characteristics” are marketed. Miranda is, so to speak, “tropicalized” herself. Tropicalization describes “the complex visual systems” through which Brazil was “imaged for tourist consumption and the social and political implications of these representations on actual physical space […] and their inhabitants.”19 Brazilian culture, fashion, and music were entwined in the figure of Miranda. Highly stylized and richly orchestrated sambas in Rio de Janeiro that emerged in samba schools in working-class neighborhoods and favelas were adapted by white performers such as Miranda and Francisco Alves.20 Miranda’s exaggerated style of wearing big fruit hats 10 Alexander von Humboldt, “An Wilhelm von Humboldt,” in Briefe aus Amerika, 1799– 1804, ed. Ulrike Moheit (Berlin: Akademie Verlag, 1993), 42. See also Alfons Hug, “Farben der Tropen I,” Kunstforum International 195 (2009): 52–53; and Viola König, “Farben der Tropen II,” Kunstforum International 195 (2009): 54–59. Unless otherwise noted, all translations are my own. 11 Victor Segalen, Essay on Exoticism: An Aesthetics of Diversity (Durham, NC: Duke University Press, 2002). See also Maria Claudia Bonadio, “Brazilian Fashion and the ‘Exotic,” International Journal of Fashion Studies 1, no. 1 (2014): 59. 12 Bonadio, “Brazilian Fashion and the ‘Exotic,’” 60. 13 Bonadio, 60. 14 Bonadio, 60. 15 Hans Staden, Brasilien: die wahrhaftige Historie der wilden, nackten, grimmigen Menschenfresser-Leute, 1548–1550, ed. Gustav Faber (Stuttgart: Tübingen, Edition Erdmann Verlag, 1984). 16 Encylopaedia Britannica Online, s.v. “Abaporú,” last modified January 12, 2015, https://www.britannica.com/topic /Abaporu. 17 Tarsila do Amaral, “Pau Brasil Painting and Antropofagia” (1939), in Brasil: 1920–1950, da antropofagia a Brasilia, ed. Jorge Schwartz, exh. cat. Museu de Arte Brasileira (São Paolo: Cosac & Naify, 2002). 18 Bonadio, “Brazilian Fashion and the ‘Exotic,’” 61. 19 Krista A. Thompson applies the term “tropicalization” to the Caribbean Islands in her book An Eye for the Tropics: Tourism, Photography, and Framing the Caribbean Picturesque (Durham, NC: Duke University Press 2006), 5. 20 Christopher Dunn, Brutality Garden: Tropicália and the Emergence of a Brazilian Counterculture (Chapel Hill: University of North Carolina Press, 2001), 24–28. 234 Traveling Fashion: Exoticism and Tropicalism Alexandra Karentzos became iconic, and through music and fashion she synthesized and transformed Afro-Brazilian popular culture. Thus, “she symbolically embodied the image of a ‘mestiço’ Brazil.”21 Maria Claudia Bonadio, who has traced and analyzed the history of Brazilian fashion, emphasizes that the view of fashion in Brazil shifted in the 1950s.22 Fashion is closely tied to art: the founding of the São Paulo Museum of Art (MASP) in 1947 brought with it a different perspective on fashion. The Italian architect Lina Bo Bardi, who moved to Brazil in 1946 and was internationally associated, created with her husband Pietro Maria Bardi the Instituto de Arte Contemporânea do Museu de Arte de São Paulo Assis Chateaubriand (IAC), which included a design school, and staged various fashion shows between 1951 and 1953. The museum regarded “the arena of fashion as a truly artistic domain.”23 The theme of the first fashion show was about traditional and modern costumes. The 1953 show presented creations by Christian Dior and concluded with an outfit by Salvador Dalí, in collaboration with Dior, which was called the “costume for the year 2045.” The outfit is now part of the museum’s collection. 235 Bonadio shows that the question of what is Brazilian fashion becomes important, especially with the presentation of the Coleção Moda Brasileira, which took place in 1952 at the Instituto de Arte Contemporânea, as well as the establishment of the journal Habitat, also cofounded by Bo Bardi and Pietro Maria Bardi.24 In a special issue devoted to fashion, the originality of Brazilian fashion is characterized as residing in how it appropriates handicrafts, which is also an important feature of Bo Bardi’s own architectural and textile works.25 The French company Rhodia, a manufacturer of polyester and textile fibers, turned its attention to the brilliant visual world of the tropics by commissioning Brazilian artists to design fashion collections in the 1960s. The resulting collections were given names like “Coleção Café” (Coffee collection), “Brazilian Primitive,” “Brazilian Style,” and “Brazilian Look.”26 In this campaign, imagery from air travel-associated, 1960s modernity is referenced. This is similar to Emilio Pucci’s much-celebrated outfits that he designed for Braniff International Airways staff, in which colorful designs for female flight attendants included plastic “space bubble helmets.”27 Thus, the “Brazilian Look” photo series published in the weekly magazine Manchete (1963) presented models dressed as Panair stewardesses at the airport, only to land directly in a gondola in Venice on page two of the tourist trip (fig. 63). The imagery of the advertising campaign conveys a Brazilian modernism, and at the same time the text describes the fabrics as authentically Brazilian. For instance, the article emphasized colors and forms that make Brazil seem more authentic and described the fur of a skirt as being from “a real jaguar from Bahia,” once more directing focus to the “wild savagery” of nature.28 In general, the construction of authenticity based on Western standards was supposed to raise the value of objects, a mechanism underlined by both Arjun Appadurai and James Clifford.29 But constructions of authenticity Fig. 63 Aldemir Martins, “Brazilian Look,” collection for Rhodia, 1963 21 Marshall C. Eakin, Becoming Brazilian: Race and National Identity in TwentiethCentury Brazil (Cambridge: Cambridge University Press, 2017), 111. See Dunn, 28. 22 Bonadio, “Brazilian Fashion and the ‘Exotic.’” 23 Bonadio, 63. 24 Bonadio, 62; Soraia Pauli Scarpa and Antonio Takao Kanamaru, “O Design Têxtil e de Moda no MASP: Entre os anos 1950 e 1953,” 12º Colóquio de Moda—9ª Edição Internacional: 3º Congresso de Iniciação Científica em Design e Moda 2016, http:// www.coloquiomoda.com.br/anais /Coloquio%20de%20moda%20-%202016 /COMUNICACAO-ORAL/CO-03-Cultura /CO-03-ODesignTextiledeModaNoMASP.pdf. 25 “A Moda no Brasil,” in Habitat: Revista das Artes no Brasil 7 (April–June 1952). 26 Bonadio, “Brazilian Fashion and the ‘Exotic,’” 66. 27 Prudence Black, “Lines of Flight: The Female Flight Attendant Uniform,” Fashion Theory 17, no. 2 (2013): 179–95. Thanks to Elke Gaugele for this reference. 28 “O Grande Desfile Brazilian Look,” Manchete 595 (1963): 44. 29 See Arjun Appadurai, “Commodities and the Politics of Value,” in The Social Life of Things: Commodities in Cultural Perspective, ed. Arjun Appadurai (Cambridge: Cambridge University Press, 1986), 56–57; and Clifford, Predicament of Culture, 215, 228. 236 Traveling Fashion: Exoticism and Tropicalism become extremely complex in the context of Brazil: clothing served as evidence for ethnic-coded apparel, but at the same time mirror the promises of a modern lifestyle evoked in 1960s by international fashion.30 This ambivalence between “ethnic dress”—with connotations of unchanging primitiveness and tradition—and fashion, which stands for constant change and thus the dynamism of modernism,31 is moreover manifest in the very travel destination chosen for the “Brazilian Look” campaign, Italy, which has been a prominent fashion location since the 1950s. The dresses themselves therefore appear as transcultural references that undermine fixed cultural boundaries. In the campaign, the yellow dress, with its large floral patterns, is reminiscent of a Chinese cheongsam, a long dress that is itself transcultural—the figurehugging dress was not developed until the 1920s in Shanghai, the “Paris of the East.” The figures, clothes, and objects are thus embedded in a complex field of historical, cultural, and economic references. 237 Alexandra Karentzos internationally connected with other constructivist artists, such as Max Bill. At the end of the 1950s, the Neoconcretists broke away to form a new movement, their members including Hélio Oiticica and Lygia Clark, who were cofounders of Tropicália. In 1968 Rhodia incorporated the movement directly into its own marketing concept by publishing an article on the style of the Tropicália movement in the magazine Jóia entitled “O Tropicalismo é nosso ou Yes, nós The recourse to authenticity and naturalness culminates in the Rhodia collection “Brazilian Primitive” from 1965, featuring exotic birds, feathers, and elements of the Afro-Brazilian religion Candomblé. The dress on the left is printed with a bird motif by the artist Izabel Pons; on the right we see Candombléinspired motifs by Aldemir Martins. Covered in feathers, it recalls indigenous cult objects. The title of the collection establishes a connection between Brazilian fashion and primitiveness, thus expressing a clichéd view of exoticism. The colorful tropical bird feathers extend the exotic to the urban women who are wearing them. Primitiveness alludes to a primal state of humanity, and represents a new beginning, just like modern art is supposed to herald a new beginning. Primitivism is felt to be unconventional, for it represents a prerhetorical, irrational cultural stage. It is equated with the modern “starting point,” a motif already circulating in the eighteenth century.32 Tropicália: Anthropophagic Concepts between Art and Fashion The Tropicália movement in 1960s and ’70s Brazil utilizes the expressions of this imagination and its various stereotyping, rupturing their seeming coherency by literally cannibalizing them.33 Tropicália embraced fields of art, music, theater, film, and fashion with notions of Brazilian identity, highlighting the difference between cliché and “authenticity.” It refers back to Oswald de Andrade’s provocative manifesto and its propagation of a cannibalistic appropriation of cultural influences in terms of a hybrid Brazilian identity. Some of the artists who designed fabrics for Rhodia, including Hermelindo Fiamighi, were also active in Brazilian Concretista (Concrete art), which was Fig. 64 Tomoshigue Kusuno, dresses for the Rhodia collection, 1968 30 For more information on this modernist recourse to textile handcrafts and indigenous fashion is given in Miriam Oesterreich’s ongoing postdoctoral research project that looks at art in Mexico since the 1920s. See Miriam Oesterreich, “Die anachronistische Moderne – Zu internationalen Verflechtungen mexikanischer Avantgarden (1920–50)” (Technische Universität Darmstadt, since 2016). 31 Leslie W. Rabine, The Global Circulation of African Fashion (Oxford: Berg, 2002), 13. 32 Alexandra Karentzos, Kunstgöttinnen: Mythische Weiblichkeit zwischen Historismus und Secessionen (Marburg: Jonas, 2005), 23. 33 Alexandra Karentzos, “Incorporations of the Other—Exotic Objects, Tropicalism, and Anthropophagy,” in Art History and Fetishism Abroad: Global Shiftings in Media and Methods, ed. Gabriele Genge and Angela Stercken (Bielefeld: transcript), 251–70. 238 Traveling Fashion: Exoticism and Tropicalism temos banana,”34 and by staging a fashion show entitled Desfiles Rhodia Tropicália (fig. 64). Oiticica worked a great deal with textile fabrics and saw fashion as a mobile sculpture. His installation Tropicália, created for the exhibition “Nova Objetividade Brasileira” at the Museu de Arte Moderna in Rio de Janeiro in 1967 gave the Tropicalismo movement its name. The leftist group active in popular culture emerged out of resistance against Brazil’s military regime, which had seized power in 1964, and also in response of the cultural hegemony of the United States and Western Europe.35 Not only were artists such as Clark or Lygia Pape part of the movement, but also musicians like Caetano Veloso, Gilberto Gil, and the band Os Mutantes. Alexandra Karentzos be read as a strategy of mimicry that appropriated the dominant classifications of the colonizers and thereby subverted them to reveal their constructions. Mimicry is a form of resistance that enables racist stereotypes to be satirized, reformulated, and transformed.40 Such a theoretical concept is compatible to de Andrade’s anthropophagy—according to this the colonizer’s concepts of art are also appropriated. In his work, Oiticica explicitly refers to de Andrade’s “Manifesto Antropófago.” As incorporation is conceived in terms of the act of devouring, it also implies the risk that what is consumed could end up being indigestible. The title of Oiticica’s installation was used by Gilberto Gil and Caetano Veloso for their 1967 album Tropicália ou Panis et Circensis, which combined samba rhythms with electric guitar and became the theme song of the movement.36 The ideas of the movement spread quickly to other fields such as theater, literature, film, and fashion and blurred the boundaries that often separated the genres: “Tropicália was an exemplary instance of cultural hybridity that dismantled binaries that maintained neat distinctions between high and low, traditional and modern, national and international cultural production.”37 In his installation, Oiticica combined “exotic” objects, such as simple wooden huts, reminiscent of Brazilian favelas, covered in colorfully printed fabrics, palm trees, sand, and real parrots. But on closer inspection the idyllic scene bursts: flowers are printed on fabrics, palm and rubber trees are planted in plastic pots, birds are in cages, and a noisy TV in the hut ruins the serenity. The exotic is shown domesticated, ready to be consumed. Through the extreme artificiality of the objects, the suggestion of a natural, pristine, and indigenous body is ironically exposed and disavowed. Oiticica contrasts the seemingly minimalistic monochrome tones of the huts with colorful prints featuring palm leaves and exotic flowers. These fabrics are associated with the “tropical” rather than with modernism. Written in one of the huts is the phrase, A pureza é um mito (“Pureness is a myth”)—and this is meant programmatically. The phantasm of the “pure” can allude to several things: first, it is directed against a modernist self-referential dictum immanent to art, namely, that of “pure seeing,” which is prominent in Minimalism;38 second, the phrase challenges the de-contextualization of objects that occurs in gallery and museum spaces; and third, it undermines what is assumed to be culturally “authentic.” Tropicália was not only an expression of a constructed Brazilian culture but a rejection of European modernism as well as Minimalism, Conceptualism, and so forth.39 Postcolonial theories in particular have dealt with the fiction of cultural pureness. In the context of Homi K. Bhabha’s theory of hybridity, Tropicália could 239 Fig. 65 Hélio Oiticica, Nildo of Mangueira with Parangolé P4 Cape 1, 1967 Fig. 66 Singer and composer Caetano Veloso wearing the Parangolé P4 Cape 1, 1968, Hélio Oiticica: P 04 Parangolé Cape 01, 1964 Different to his traversable sculpture Tropicália that absorbs the audience, Oiticica’s living sculptures, which he calls Parangolés, incorporate bodies (fig. 65).41 Designed in 1965, his Parangolés are cape-like samba costumes made out of multicolored fabrics, plastic, and rubbish. Parangolés were worn by dancers from the Mangueira Samba School, for example, situated in 34 Maria Claudia Bonadio, “O fio sintético é um show! Moda, política e publicidade; Rhodia S. A. 1960–1970,” (PhD diss., Universidade Estadual de Campinas, 2005), 214–28, http://repositorio.unicamp .br/jspui/handle/REPOSIP/279891. 35 Sabeth Buchmann, Denken gegen das Denken: Produktion, Technologie, Subjektivität bei Sol LeWitt, Yvonne Rainer und Hélio Oiticica (Berlin: b_books), 229. 36 Dunn, Brutality Garden, 8. 37 Dunn, 3. 38 Buchmann, Denken gegen das Denken, 264. 39 Buchmann, 263–64. 40 Bhabha, Location of Culture, 86–89. 41 Parangolé is “a slang term from Rio de Janeiro that refers to a range of events or states including idleness, a sudden agitation, an unexpected situation, or a dance party.” Anna Dezeuze, “Tactile Dematerialization, Sensory Politics: Hélio Oiticica’s Parangolés,” Art Journal 63, no. 2 (2004): 59. 240 Traveling Fashion: Exoticism and Tropicalism Mangueira Hill, a Rio de Janeiro shanty town where Oiticica himself was part of the group of dancers. Furthermore, the musician Caetano Veloso also wore one of Oiticica’s Parangolés in 1968 (fig. 66). These performances reflect not only a close entanglement between art and pop culture,42 but also the political meanings associated with the Parangolés: used in the slum areas, they had slogans written on them like Incorporo a revolta (I incorporate revolt), Estou Possuido (I am possessed), and Sexo e violência, é isso que me agrada (Sex and violence, this is what I like). They were effectively turned into political banners. Through the movement of the dancers wearing them, the Parangolés become mobile sculptures.43 Oiticia stated: “It is the incorporation of the body in the work, and the work in the body. I call it in-corporation.”44 When these carnivalesque bodies entered the museum in 1965, things became problematic. Oiticica presented the Parangolés, which were worn by dancers from Mangueira, to the public for the first time at the opening of “Opinão 65,” an exhibition at the Museum of Modern Art, Rio de Janeiro. This irruption of the poor into the bourgeois museum caused such a scandal that the director had them evicted.45 The boundary between everyday culture and art, which Oiticica sought here to also shift onto the social level—and not just “quote”— disrupted in this case. In contrast, the clothes by Rhodia could be shown in the museum, and, for example, when musicians involved in the Tropicália movement like Caetano Veloso, Gilberto Gil, or Os Motantos performed at the fashion shows held in the São Paulo Museum of Art (MASP),46 while the museum collected numerous pieces of clothing by Rhodia.47 In this understanding of fashion, social exclusion, popular culture, consumerism, and art go hand in hand. The trends and styles, the visual and verbal vocabulary established by the tropicalist counterculture, which fed back into the culture industries, begin to strike their own marketable pose, as described by Dick Hebdige.48 In these examples, tropicalism appropriates patterns and colors encoded as being quintessentially Brazilian. This contrasts starkly to the anthropophagical concept of the Tropicália movement where a perceived image of Brazil and its culture was challenged and revealed to be a product of diverse and complex transcultural processes of exchange. Traveling Fashion: Fashion in Exchange Processes In conclusion, traveling fashion is as a theoretical model that effectively conceptualizes the tensions described above. Drawing on James Clifford’s idea of traveling culture, the concept of traveling fashion places fashion in the context of mobility and processuality of cultural practices, while it also critically considers the localizing strategies that underly the construction and repre- Alexandra Karentzos 241 sentation of cultures.49 Fixations of culture operating, for instance with ethnic ascriptions and constructions of the “native,” prove to be unstable—they are, as it were, set in motion and become blurred. According to Clifford, the point is “not simply to invert the strategies of cultural localization.”50 He does not deny that “there are no locales or homes, that everyone is—or should be— traveling, or cosmopolitan, or deterritorialized,” but rather argues that we should “rethink cultures as sites of dwelling and travel” and to examine concrete histories, tactics, and everyday practices in this area of tension.51 He writes: “The notion of ‘travel’ cannot possibly cover all the different displacements and interactions [...]. Yet it has brought me into these borderlands. I hang on to ‘travel’ as a term of cultural comparison precisely because of its historical taintedness, its associations with gendered, racial bodies, class privilege, specific means of conveyance, beaten paths, agents, frontiers, documents, and the like.”52 Clifford underlines the ambivalences of travel with reference to Claude Lévi-Strauss’s travelogue Tristes Tropiques (1955) where, on the one hand, travel is conceptualized as “transience, superficiality, tourism, exile, and rootlessness” and, on the other, as “exploration, research, escape, transforming encounter.”53 Tristes Tropiques as an aesthetic-literary place of the travelogue formulates contextspecific “truths,” which are (co)constructed by processes of writing.54 Clifford emphasizes that clothing is an element “in a taxonomy of observation 42 Dunn, Brutality Garden, 149. 43 Hélio Oiticica, “Notes on the Parangolé 1965,” in Hélio Oiticica, ed. Guy Brett (Minneapolis: Walker Art Center, 1992). Generally on the parangolés, see Anna Schober, “Hélio Oiticica‘s Parangolés: Body-Events, Participation in the AntiDoxa of the Avant-Garde and Struggling Free From It,” theory@buffalo, special issue, Politics and Doxa 9 (2004): 75–101. 44 Helio Oiticica, in HO (film by Ivan Cardoso Brasil, 1979), 4:11 min. The film presents original footage of Oiticica and his collaborators manipulating works including the Parangolés, showing how he intended them to be worn and displayed, see http://www.museoreinasofia.es/en /collection/artwork/ho. 45 Dezeuze, “Tactile Dematerialization,” 65. 46 In June 1968 Rhodia S. A., Shell, Ford, and Willy supported the cultural festival Momento 68 that featured performances by Caetano Veloso, Eliana Pitman, and Gilberto Gil. The parade toured various cities in Brazil, see Maria Claudia Bonadio, “Brazilian Fashion and the ‘Exotic,’” 68. 47 These were presented in 2015–16 in the large exhibition “Arte na Moda: Coleção MASP Rhodia” in the MASP. 48 Dick Hebdige, Subculture: The Meaning of Style (London: Routledge, 1979), 93–95. 49 James Clifford, Routes: Travel and Translation in the Late Twentieth Century (Cambridge, MA: Harvard University Press, 1997), 19; Alexandra Karentzos, “Traveling Fashion: Transkulturalität und Globalisierung/ Traveling Fashion: Transculturality and Globalization,” Querformat 6 (2013): 10–18; and Rabine, Global Circulation of African Fashion. 50 Clifford, Routes, 105. 51 Clifford, 105. 52 Clifford, 39. 53 Clifford, 31. 54 Rainer Winter, “Ethnographie, Interpretation und Kritik: Aspekte der Methodologie der Cultural Studies,” in Die Werkzeugkiste der Cultural Studies: Perspektiven, Anschlüsse und Interventionen, ed. Udo Göttlich, Lothar Mikos, and Rainer Winter (Bielefeld: transcript, 2001), 44. 242 Traveling Fashion: Exoticism and Tropicalism made by scientific travelers, components of an emerging cultural explanation.”55 In particular, the concept of travel marks how the spatial aspects of fashion are closely interlinked with social distinctions of gender, ethnicity, class, privilege, and so forth, and puts forward the idea that boundaries should ultimately be thought of as open and displaceable. Zones of contact can occur through travel. Consequently, the focus of this approach is on the deconstructions and new contextualizations that arise from the transcultural circulation of fashion, that still remain a research desideratum.56 By reading tropicalism through the prism of Clifford’s concept, it turns out that tropicalism is not “typically Brazilian” or indeed “proto”—it is a product of an exchange processes, where fashion itself contributes to its construction. In the concept of traveling fashion, the disparate and contradictory positions on what should be seen as “tropical” or “Brazilian” do not dissolve; rather, these tropicalisms with their appeals and quotations, prove to be part of a fashion staging. The attempt to capture them in something Brazilian is ironically and critically reflected in the Tropicália movement in particular. Drawing on Leslie W. Rabine’s study on African fashion, “the meaning of the term [the authentic] becomes slippery indeed, especially when it travels across cultures, political structures and economic domains.”57 Fashion travels through different zones of meaning, shifting between stereotypes, colonial discourses, localizations, authentication strategies, and ironic refractions, all of which come together to create an entangled history of fashion. 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Bonadio, Maria Claudia. “Brazilian Fashion and the ‘Exotic.’” International Journal of Fashion Studies 1, no. 1 (2014): 57–74. of Cultures: Fashion, Identity, and Globalization (London: Routledge, 2009); and Daniel Miller and Sophie Woodward, eds., The Global Denim (Oxford: Berg, 2011). 57 Rabine, Global Circulation of African Fashion, 13. Dezeuze, Anna. “Tactile Dematerialization, Sensory Politics: Hélio Oiticica’s Parangolés.” Art Journal 63, no. 2 (2004): 58–71. Dos Santos-Stubbe, Chirly, and Hannes Stubbe. Kleines Lexikon der Afrobrasilianistik: Eine Einführung mit Bibliografie. Göttingen: V & R unipress, 2014. Dunn, Christopher. Brutality Garden: Tropicália and the Emergence of a Brazilian Counterculture. Chapel Hill: University of North Carolina Press, 2001. Eakin, Marshall C. Becoming Brazilian: Race and National Identity in TwentiethCentury Brazil. Cambridge: Cambridge University Press, 2017. Ette, Ottmar. “Alexander von Humboldt: Wissenschaft im Feld: Transareale Wissenschaftsfelder in den Tropen.” HiN 12, no. 23 (2011). https://www.uni-potsdam .de/romanistik/hin/hin23/ette.htm. Habitat. “A Moda no Brasil.” Habitat: revista das Artes no Brasil, no. 7 (1952). ———. “O fio sintético é um show! Moda, política e publicidade; Rhodia S. A. 1960– 1970.” PhD diss., Universidade Estadual de Campinas, 2005. Hebdige, Dick. Subculture: The Meaning of Style. London: Routledge 1979. Buchmann, Sabeth. Denken gegen das Denken. Produktion, Technologie, Subjektivität bei Sol LeWitt, Yvonne Rainer und Hélio Oiticica. Berlin: b_books, 2007. Hug, Alfons. “Die Tropen: Ansichten von der Mitte der Weltkugel.” In Die Tropen: Ansichten von der Mitte der Weltkugel, edited by Alfons Hug, Peter Junge, and Viola König, 13–25. Bielefeld: Kerber Verlag, 2008. Exhibition catalogue. Büdenbender, Hanna, “‘Wow, That’s So Postcard!’ De-/Konstruktionen des kolonialen touristischen Blicks auf die Tropen in der zeitgenössischen Fotografie” (PhD. diss., Technische Universität Darmstadt, 2018). 55 Clifford, Routes, 73. 56 Sandra Niessen, Ann Marie Leshkowich, and Carla Jones, eds., Re-orienting Fashion: The Globalization of Asian Dress (Oxford: Berg, 2003); Rabine, Global Circulation of African Fashion; Eugenia Paulicelli and Hazel Clark, eds., The Fabric 243 ———. “Farben der Tropen I.,” Kunstforum International 195 (2009): 52–53. Clifford, James. The Predicament of Culture: Twentieth-Century Ethnography, Literature and Art. Cambridge, MA: Harvard University Press, 1988. Karentzos, Alexandra. “Incorporations of the Other—Exotic Objects, Tropicalism, and Anthropophagy.” In Art History and Fetishism Abroad: Global Shiftings in Media and Methods, edited by Gabriele Genge and Angela Stercken, 251–70. Bielefeld: transcript, 2014. ———. Routes: Travel and Translation in the Late Twentieth Century. Cambridge, MA: Harvard University Press, 1997. ———. Kunstgöttinnen: Mythische Weiblichkeit zwischen Historismus und Secessionen. Marburg: Jonas, 2005. 244 Traveling Fashion: Exoticism and Tropicalism ———. “Traveling Fashion: Transkulturalität und Globalisierung” / “Traveling Fashion: Transculturality and Globalization.” Querformat 6 (2013): 10–18. ———. “Wilde Mode: Exotismus und Tropikalismus.” In Wilde Dinge in Kunst und Design: Aspekte der Alterität seit 1800, edited by Gerald Schröder and Christina Threuter, 98–135. Bielefeld: transcript, 2017. König, Viola. “Farben der Tropen II.” Kunstforum International 195 (2009): 54–59. Lévi-Strauss, Claude. Tristes Tropiques. Translated by John and Doreen Weightman. New York: Washington Square Press, 1977. Mießgang, Thomas. “Tropicália: Das Verschlingen des geheiligten Feindes.” In Tropicália: Die 60s in Brasilien, edited by Gerald Matt, 9–38. Vienna: Kunsthalle Wien, with Verlag für moderne Kunst, Nürnberg 2010. Exhibition catalogue. Miller, Daniel, and Woodward, Sophie, eds. The Global Denim. Oxford: Berg, 2011. Miranda, Carmen. “Interview.” People In Camera, British Pathé, 1948. https://www .youtube.com/watch?v=2MOp_pzFmoM. Niessen, Sandra, Ann Marie Leshkowich, and Carla Jones, eds. Re-Orienting Fashion: The Globalization of Asian Dress. Oxford: Berg Publishers, 2003. Oiticica, Hélio.“Anmerkungen zum Parangolé, 6. Mai 1965.” In Hélio Oiticica: Das große Labyrinth, edited by Susanne Gaensheimer, 157–60. Ostfildern: Hatje Cantz, 2013. Exhibition catalogue. Alexandra Karentzos Pratt, Mary Louise. Imperial Eyes: Travel Writing and Transculturation. London: Routledge 1992. Rabine, Leslie W. The Global Circulation of African Fashion. Oxford: Berg, 2002. Scarpa, Soraia Pauli, and Antonio Takao Kanamaru. “O Design Têxtil e de Moda no MASP: Entre os anos 1950 e 1953.” Paper presented at the 12º Colóquio de Moda—9ª Edição Internacional, 3º Congresso de Iniciação Científica em Design e Moda, 2016. http://www.coloquiomoda.com.br/anais /Coloquio%20de%20moda%20-%202016 /COMUNICACAO-ORAL/CO-03-Cultura /CO-03-ODesignTextiledeModaNoMASP.pdf. Schober, Anna. “Hélio Oiticica’s Parangolés: Body-Events, Participation in the AntiDoxa of the Avant-Garde and Struggling Free from It.” “theory@buffalo.” Special issue, Politics and Doxa 9 (2004). Segalen, Victor. Essay on Exoticism: An Aesthetics of Diversity. Durham, CD: NC: Duke University Press, 2002. Staden, Hans. Brasilien: Die wahrhaftige Historie der wilden, nackten, grimmigen Menschenfresser-Leute. Edited by Gustav Faber. Stuttgart: Tübingen, Edition Erdmann Verlag, 1984. Thompson, Krista A. An Eye for the Tropics: Tourism, Photography, and Framing the Caribbean Picturesque. Durham, NC: Duke University Press, 2006. Urry, John. The Tourist Gaze: Leisure and Travel in Contemporary Societies. London: Sage, 1990. ———. “Notes on the Parangolé 1965.” In Hélio Oiticica, edited by Guy Brett, 93–96. Minneapolis: Walker Art Center, 1992. Exhibition catalogue. Von Humboldt, Alexander. “An Wilhelm von Humboldt.” In Briefe aus Amerika, 1799–1804, edited by Ulrike Moheit, 41–43. Berlin: Akademie Verlag, 1993. “O Grande Desfile Brazilian Look,” Manchete 595 (1963): 42–49. ———. Kosmos: Entwurf einer physischen Weltbeschreibung. Edited by Ottmar Ette and Oliver Lubrich. Frankfurt am Main: Eichborn, 2004 Paulicelli, Eugenia, and Hazel Clark, eds. The Fabric of Cultures: Fashion, Identity, and Globalization. London: Routledge 2009. Winter, Rainer. “Ethnographie, Interpretation und Kritik: Aspekte der Methodologie der Cultural Studies.” In Die Werkzeugkiste der Cultural Studies: Perspektiven, Anschlüsse und Interventionen, edited by Udo Göttlich, Lothar Mikos, and Rainer Winter, 43–62. Bielefeld: transcript, 2001. 245 Image Credits Image Credits Fashion and Postcolonial Critique: An Introduction Elke Gaugele and Monica Titton Fig. 1 Young women cutting and fitting clothing in class at Agricultural and Mechanical College, Greensboro, NC, 1899. Library of Congress Prints and Photographs Division Washington, DC; b/w film copy neg reproduction number: LC-USZ62-118917, http://www.loc.gov/pictures/item/97510089/. Courtesy of the Library of Congress Prints and Photographs Division, Washington, DC. Fig. 2 Photograph of exhibit of the American Negroes at the Paris exposition, 1900. Taken from the American Monthly Review of Reviews 22, no. 130 (November 1900): 576. Library of Congress Washington, DC, reproduction number LC-DIG-ppmsc-04826 (digital file from original), LC-USZ62-132752 (b&w film copy neg.) http://www.loc.gov /pictures/item/2001697152. Courtesy of the Library of Congress Prints and Photographs Division, Washington, DC. Fig. 3 “The problem of the 20th century is the problem of the color-line,” chart prepared by Du Bois for the “American Negro” exhibit at the 1900 Paris World Exposition to show the routes of the African slave trade and the economic and social progress of African Americans since emancipation. Drawing, ink, and watercolor on board, 710 x 560 mm. Library of Congress Prints and Photographs Division Washington, DC; Digital ID: ppmsca 33863, http://hdl.loc.gov/loc.pnp /ppmsca.33863. Courtesy of the Library of Congress Prints and Photographs Division, Washington, DC. Fig. 4 Portrait 1899, displayed at the “American Negro” exhibit at the Paris International Exposition, 1900 [African American woman, half-length portrait, seated, facing right], Library of Congress Prints and Photographs Division Washington, DC, Digital ID: (b&w film copy neg.) cph 3c24691, http://hdl.loc.gov/loc.pnp /cph.3c24691. Courtesy of the Library of Congress Prints and Photographs Division, Washington, DC. Fig. 5 Portrait 1899 displayed at the “American Negro” exhibit at the Paris International Exposition, 1900 [African American woman, three-quarter length portrait, 277 seated with left arm over back of chair, facing front]. Gelatin silver photograph. Library of Congress Prints and Photographs Division Washington DC; Digital ID: (b/w film copy neg.) cph 3c24687, http://hdl .loc.gov/loc.pnp/cph.3c24687. Courtesy of the Library of Congress Prints and Photographs Division, Washington, DC. Fig. 6 Portrait 1899 displayed at the “American Negro” exhibit at the Paris International Exposition, 1900 [African American woman, half-length portrait, facing slightly right 1899/1900]. Gelatin silver photograph. Library of Congress Prints and Photographs Division Washington, D.C.; Digital ID: (b/w film copy neg.) cph 3c24796 http://hdl.loc. gov/loc.pnp/cph.3c24796. Courtesy of the Library of Congress Prints and Photographs Division, Washington, DC. Fig. 7 Portrait 1899/1900 displayed at the “American Negro” exhibit at the Paris International Exposition, 1900 [African American woman, head-and-shoulders portrait, facing slightly right 1899/1900], photographic print: gelatin silver. Library of Congress Prints and Photographs Division Washington, D.C.; Reproduction Number: LC-USZ62-124722 (b/w film copy neg.) http://cdn.loc.gov/service/pnp/cph/3 c20000/3c24000/3c24700/3c24722v.jpg. Courtesy of the Library of Congress Prints and Photographs Division, Washington, DC. Fig. 8 The Hidden Fashion Library, exhibition photo, staterooms Alte Post, Vienna, April 26–29, 2017. Gangart/Heinrich Pichler 2017. Courtesy of Gangart/Heinrich Pichler. Fig. 9 Walé Oyéjidé, “After Migration,” Ikeré Jones lookbook (Fall/Winter 2016/17). Walé Oyéjidé/ Ikeré Jones 2016. Courtesy of Walé Oyéjidé. The Implementation of Western Culture in Austria: Colonial Concepts in Adolf Loos’s Fashion Theory Christian Kravagna Figs. 10–13 Heinz Frank, performance as a commentary to Adolf Loos’s “Zur Herrenmode” (1898), 1970. Photo: Gabriela Brandenstein. Courtesy of Gabriela Brandenstein. Fig. 14 Adolf Loos, Das Andere, no. 1, 1903 Fig. 15 Adolf Loos, Advertisement for Das Andere no. 2, 1903 Image Credits 278 La Revue du Monde Noir: Nos Enquêtes Louis Thomas Achille, Jean Baldoui, Marie-Magdeleine Carbet, Paulette Nardal, Rosario, and Clara W. Shepard Fig. 16 Revue du Monde Noir/Review of the Black World, no. 2 (1931): 60. Figs. 17–21 Revue du Monde Noir/Review of the Black World, no. 3 (1932): 50–54. Figs. 22–24 Revue du Monde Noir/Review of the Black World, no. 4 (1932): 50–52. Source: Bibliothèque nationale de France. (Re-)fashioning African Diasporic Masculinities Christine Checinska Fig. 25 Bust of Jean-Jacques Dessalines. © National Maritime Museum, Greenwich, London, Michael Graham-Stewart Slavery Collection. Acquired with the assistance of the Heritage Lottery Fund. Fig. 26 Portrait of General Jean-Jacques Dessalines. [Jean-Jacques Dessalines (Jacques 1er), fondateur de l’Indépendance d’Haïti] Rouzier, Sémexan. Dictionnaire géographique et adminis tratif universel d’Haïti illustré ... ou Guide général en Haïti: avec gravures, illustrations, plans, cartes et vues dans le texte, et une carte coloriée de l’île d’Haïti. Paris: Imprimerie brevetée Charles Blot, 1891, p. 89. Manioc, Bibliothèque numérique Caraïbe, Amazonie, Plateau des Guyanes. http:// www.manioc.org/images/SCH130090113i1. Courtesy of Manioc, Bibliothèque numérique Caraïbe, Amazonie, Plateau des Guyanes. Last Stop Palenque: Fashion Editorial Hana Knížová and Sabrina Henry Figs. 27–35 Hana Knížová, Last Stop Palenque, 2016. Fashion editorial for Nataal.com, styled by Sabrina Henry. Photo: Hana Knížová. © Hana Knížová and Sabrina Henry. A Brief History of Postcolonial African Fashion Helen Jennings Fig. 36 Designer: Wanda Lephoto – AW17 lookbook, Photo: Andile Buka, Models (left to right): Tebogo Gondo and Raymond Sibeko, Creative Direction and styling: The Sartists. Courtesy of Wanda Lephoto. Fresh Off the Boat: A Reflection on Fleeing, Migration, and Fashion (Theory) Burcu Dogramaci Fig. 37 Alice M. Huynh, Fresh Off the Boat, 2015. Six looks from the collection. Courtesy of Alice M. Huynh. Fig. 38 Hussein Chalayan, “After Words,” Fall/ Winter 2000. Photo: Chris Moore. [Robert Violette, Hussein Chalayan (New York: Rizzoli, 2011), 242–43] Courtesy of Hussein Chalayan. Reviewing Orientalism and Re-orienting Fashion beyond Europe Gabriele Mentges Fig. 39 Women’s coat “Munisak” (minsak, mursak, also called “Kaltacha”), silk ikat, lining, printed cotton from Russia, Uzbekistan, 1900. 212 Magazine: Picture Spread Heval Okçuoğlu Fig. 40 212 Magazine 1, “Strange Days” (2016). AES+F Group, Allegoria Sacra, 2011. Taken from 212 Magazine, no. 1, “Strange Days.” Fig. 41 Sandrine Dulermo and Michael Labica, Strange Days—Visions of Futures Past, 2016. Taken from 212 Magazine, no. 1, “Strange Days.” Photography by Sandrine Dulermo and Michael Labica. Styling by Laurent Dombrowicz. Fig. 42 Ekin Ozbicer, Strange Days—The Bravest Tailor in the East, 2016. Taken from 212 Magazine, no. 1, Strange Days—The Bravest Tailor in the East, photography by Ekin Ozbicer, styling by Handan Yilmaz. Fig. 43 Hellen Van Meene, Romance Is the Glamour Which Turns the Dust of Everyday Life Into a Golden Haze, 2016. Taken from 212 Magazine Issue I, Strange Days – Romance Is the Glamour Which Turns the Dust of Everyday Life into a Golden Haze, photography and styling by Hellen Van Meene. Fig. 44 Emre Dogru, Local Fantasy Global Reality, 2016. Taken from 212 Magazine Issue II, Locality – Local Fantasy Global Reality, photography by Emre Dogru. Fig. 45 Servet Koçyiğit, Golden Lining, 2016. Taken from 212 Magazine Issue II, Locality – Golden Lining by Servet Koçyiğit, 2016. All images courtesy of 212 Magazine. Fig. 46 Murat Palta, Modern Miniature, 2016. Taken from 212 Magazine Issue II, Locality – Modern Miniature, exclusive artwork by Murat Palta. Fashionscapes, Hybridity, and the White Gaze Birgit Haehnel Fig. 47 Stella Jean, Pre-Fall Collection, 2017. http:// www.vogue.com/fashion-shows/pre -fall-2017/stella-jean/slideshow/collection. Courtesy of Condé Nast. Remodeling the Past, Cross-dressing the Future: Postcolonial Self-Fashioning for the Global Art Market Birgit Mersmann Fig. 48 Yinka Shonibare, Diary of a Victorian Dandy, 11 hours, 1998. Courtesy of the artist. Re-mastering the Old World: Picture Spread from the Ikiré Jones Archive Ikiré Jones/Walé Oyéjidé Esq. Figs. 49–53 Walé Oyéjidé, Re-mastering the Old World, 2016–17. The Ikiré Jones Archive. Courtesy of Walé Oyéjidé Esq. Textiles Designing Another History: Wael Shawky’s Cabaret Crusades Gabriele Genge and Angela Stercken Fig. 54 Wael Shawky, Cabaret Crusades: The Secrets of Karbalaa, 2014, film stills, 54a | On-screen billing, 54b | Film scene Mecca 681, 54c | Film scene Ramla 1192; figs. a–c: courtesy of Wael Shawky and Sfeir-Semler Gallery, Beirut/ Hamburg; 54d | Perpetual Calendar, Tab. II from “Catalan Atlas” by Abraham Creques, 1375 ©Bibliothèque National, Paris (http://expositions.bnf.fr /ciel/catalan/index.htm, 2017/05/12). Fig. 55 Ebstorf Map, ca. 1290, reconstruction, ill. quoted from Ute Schneider, Die Macht der Karten: Eine Geschichte der Kartographie vom Mittelalter bis heute (Darmstadt: Primus 2004), 3. extended and updated ed. 2012), 160. Fig. 56 World map from the Apocalypse commentary by Beatus von Liébana, 1086, 279 Burgo de Osma, fol.: 34v–35r, ill. quoted from John Williams, ed., The Illustrated Beatus: A Corpus of the Illustrations of the Commentary on the Apocalypse, vol. 1 (London 1994), 51, ill. 21. (DadaWeb, Universität zu Köln, Kunsthistorisches Institut) Fig. 57 Wael Shawky, glass figures from Cabaret Crusades: The Secrets of Karbalaa, 2014, 57a | Eleonore of Aquitaine, 57b | Ludwig VII of France, 57c | German King Conrad III; ills. a–c: installation view, MoMA PS1, New York, 2015, photo: Nick Waldhör, 57d | Muzalfat ad-Din Kawkaboori, 57e | Fatimid caliph Al Adid li-Din Allah, 57f |Yusuf (Salah ad-Din); ills. d–f: quoted from Wael Shawky: Cabaret Crusades, exh. cat., ed. Kunstsammlung Nordrhein-Westfalen, Düsseldorf (Bielefeld: Kerber Verlag, 2015). All illustrations courtesy of Wael Shawky and Sfeir-Semler Gallery, Beirut/Hamburg. Fig. 58 Relics textiles, 9th/10th century, polychromed silk samite, Ev. Church Community Bad Gandersheim, Inv-No. 396; ill. quoted from Christian Popp, “Reliquien im hochmittelalterlichen Weiheritus,” in Seide im frühund hochmittelalterlichen Frauenstift: Besitz – Bedeutung – Umnutzung, ed. Thomas Schilp and Annemarie Stauffer, Essener Forschungen zum Frauenstift, vol. 11 (Essen: Klartext, 2013), 160, ills. 3–4. Figs. 59a + b Cathedral Treasury of Essen, textile relic cover, 10th to 11th century. Fig. 59a Silk textiles, 59b | Textile relic cover, 10th to 11th century, Cathedral Treasury of Essen; can r1 and r2, Inv.-Nr. E/r1 and E/r2-a1; ill. quoted from: Annemarie Stauffer, “Seide aus dem Frauenstift Essen: Befunde, Herkunft und Kontexte,” in Seide im frühund hochmittelalterlichen Frauenstift: Besitz – Bedeutung – Umnutzung, ed. Thomas Schilp and Annemarie Stauffer, Essener Forschungen zum Frauenstift, vol. 11 (Essen: Klartext, 2013), 105, ills. 2 and 106, ill. 3. Fig. 60 Cross of Otto and Mathilde, or: Cross of Abbess Mathilde, before 982, Cathedral Treasury of Essen, overall view and detail; ill. quoted from Klaus Beuckers, Die Ottonen (Petersberg: M. Imhof, 2002), 94. Fig. 61 Theophanu Cross, 1039–1058, Cathedral Treasury of Essen, overall view and detail; 280 ill. quoted from Anne Kurtze, Durchsichtig oder durchlässig. Zur Sichtbarkeit der Reliquien und Reliquiare des Essener Stiftsschatzes im Mittelalter, Studien zur internationalen Architektur- und Kunstgeschichte, 148 (Petersberg: Michael Imhof, 2017) 142, ill. II.3.3. Fig. 62 Wael Shawky, Cabaret Crusades: The Secrets of Karbalaa, 2014. Four film stills from the “Battle of Hattin” scene. Courtesy of Wael Shawky and Sfeir-Semler Gallery, Beirut/Hamburg. Traveling Fashion: Exoticism and Tropicalism Alexandra Karentzos Fig. 63 Aldemir Martins, ”Brazilian Look,” collection for Rhodia, collection Brazilian Look, 1963. Dress above: print with abstract floral pattern design by Aldemir Martins. In Manchete 1963 (595): 44–45. Fig. 64 Izabel Pons, “Brazilian Primitive,” collection for Rhodia, collection Brazilian Primitive, 1965. Left: dress by Izabel Pons, birdpatterned print; right: dress with symbols of the Afro-Brazilian religion Candomblé by Aldemir Martin. In Jóia magazine, 1965. Fig. 65 Hélio Oiticica, Nildo of Mangueira with Parangolé P4 Cape 1, 1967. Courtesy of Projeto Helio Oiticica, Rio de Janeiro. In Tropicália: Die 60s in Brasilien. Edited by Gerald Matt, Vienna: Kunsthalle Wien, with Verlag für moderne Kunst, Nürnberg, 2010. Exhibition catalogue, p. 41. Fig. 66 Singer and composer Caetano Veloso wearing the Parangolé P4 Cape 1, 1968, Hélio Oiticica: P 04 Parangolé Cape 01 1964. Photo: Andreas Valentim. Courtesy of Projeto Hélio Oiticica. In Hélio Oiticica. Das große Labyrinth. Edited by Susanne Gaensheimer, Frankfurt am Main: Museum für Moderne Kunst, with Hatje Cantz, 2013. Exhibition catalogue, p. 99. The Production of African Wax Cloth in a Neoliberal Global Market: Vlisco and the Processes of Imitation and Appropriation Christine Delhaye Fig. 67 Vlisco, collection “Splendeur”, 2014, Photo: Vlisco. Photo: Frtiz Kok. Courtesy of Vlisco. Fig. 68 Vlisco, collection “Celebrate with Style”, 2017. Photo: Vlisco, Photography: Floor Knapen. Courtesy of Vlisco. Fig. 69 Design 13/0036, Vlisco (Ankersmit), 1912. Photo: Vlisco. Courtesy of Vlisco. Fig. 70 Design Lino, ABC 1906 (after Indonesian design “Tambal Miring”). Archive ABC (A RV-B110-2) Photo: Helen Elands. Courtesy of Helen Elands and ABC, Hyde. Incommensurate T-shirts: Art/Economy from Senegal to the United States Leslie Rabine Fig. 71 Streetwear designer Poulo (Mohamadou El Amine Diallo) sets up his heat-film laser printer in Dakar, Senegal, April 2015. Photo: Leslie Rabine. Fig. 72 Graffiti artist Kemp Ndao prepares a T-shirt for heat-film transfer on the press in Poulo’s first atelier in Dakar, Senegal. February 2012. Photo: Leslie Rabine. Fig. 73 Graffiti artist Nourou (Mohamadou Nouroul Anwar Ndiaye) at a graffiti festival in SaintLouis du Sénégal, December 2015. Photo: Leslie Rabine. Fig. 74 Nourou, working at the atelier, has designed a T-shirt inscribed with “RSPCT EVRYBDY / TRST NBDY/ Build’Other,” Dakar, Senegal, February 2017. Photo: Leslie Rabine. Fig. 75 Nourou, at the atelier in Dakar, separates the laser-cut design element from the sheet of heat-film, March 2017. Photo: Leslie Rabine. Fig. 76 Nourou places a piece of heat-film design element on a T-shirt before pressing it, March 2017. Photo: Leslie Rabine. Publication Series of the Academy of Fine Arts Vienna Fashion and Postcolonial Critique Elke Gaugele Monica Titton (Eds.) VOLUME 22 This is a peer-reviewed publication. We thank the anonymous reviewers for their in-depth comments and advice. Editors: Elke Gaugele, Monica Titton Editorial Assistance: Anna Berthold Editorial Coordinator: Martina Huber, Iris Weißenböck Copy Editor: Niamh Dunphy Proofreader: Claire Cahm Design: Anna Landskron, Surface, Frankfurt am Main/Berlin Printing: Holzhausen Druck GmbH, Wolkersdorf Binding: Buchbinderei Papyrus, Vienna Cover image: Portrait of Grace Bol photographed by Sølve Sundsbø for Luncheon Magazine 3 (Spring 2017), as part of the editorial “Sunrise Market.” Styling by Matthias Karlsson. The Cape worn by Grace Bol is designed by Duro Olowu. Courtesy of Sølve Sundsbø. Supported by the Academy of Fine Arts Vienna and the Austrian Center for Fashion Research, Academy of Fine Arts Vienna. This book is a result of the Austrian Center for Fashion Research (ACfFR), an interdisciplinary research project funded by the Hochschulraumstrukturmittel of the Austrian Federal Ministry of Science, Research and Economy. ISBN 978-3-95679-465-0 © 2019 Akademie der bildenden Künste Wien, Sternberg Press All rights reserved, including the right of reproduction in whole or in part in any form. Sternberg Press Caroline Schneider Karl-Marx-Allee 78 D-10243 Berlin www.sternberg-press.com Contents Fashion and Postcolonial Critique: An Introduction Elke Gaugele and Monica Titton 10 Decolonizing Global Fashion Archives The Implementation of Western Culture in Austria: Colonial Concepts in Adolf Loos’s Fashion Theory Christian Kravagna 40 La Revue du Monde Noir: Nos Enquêtes Louis Thomas Achille, Jean Baldoui, Marie-Magdeleine Carbet, Paulette Nardal, Rosario, and Clara W. Shepard 54 Afrofuturism as a Strategy for Decolonizing the Global Fashion Archive Sonja Eismann 64 (Re-)fashioning African Diasporic Masculinities Christine Checinska 74 Last Stop Palenque: Fashion Editorial Hana Knížová and Sabrina Henry 90