A straw hat with tassels and flowers Description automatically generated ‘local colour’ in a global industry A person with a paper cut out of her head Description automatically generated with medium confidence What is ethno-fashion? https://www.menti.com/aldzt81mf59x A qr code on a white background Description automatically generated A straw hat with tassels and flowers Description automatically generated https://www.mentimeter.com/app/dashboard Lothar Rübelt, Wiener Skitouristin am Arlberg, 1935 https://www.mentimeter.com/app/dashboard - The consumption and meaning of fashion An accelerated market: fashion, illustration and modern magazines Man Ray’s ‘‘Blanche et Noire’’ underscores the model’s ‘‘modern’’ whiteness through its juxtaposition with the ‘‘primitive’’ blackness of the mask. Vogue, 1926. A person sitting on the floor Description automatically generated Self-portrait of the surrealist photographer Claude Cahun sporting ‘‘Oriental’’ garb and seated in a meditative pose. A person in a long dress Description automatically generated with medium confidence ‘‘Robes D’Interieurs’’ including a so-called Turkish house gown, a Hindu shawl, a robe with back panel of ‘‘East Indian temple cloth,’’ and a ‘‘Japanese underrobe.’’ Vogue, 1921. Connecting it all: the Modern Girl around the world Fashion as an experience of women’s modernity A black and white photo of a person's face Description automatically generated Ad in an elite Chinese magazine, Young Companion (1937) for ‘‘Odorono,’’ a deodorant licensed around the world by a U.S. company. Ad in the German magazine Leipziger Illustrirte Zeitung (1928) for the U.S.–licensed deodorant ‘‘Odorono,’’ highlighting abstracted facial features and exposed body parts. A person with a tattoo on her forehead Description automatically generated Ad in Illustrated Weekly of India (1942) for Pond’s, featuring an Indian Modern Girl with bindi, stylish hair, and sari. A newspaper with a person's face Description automatically generated A 1928 U.S. Vogue ad for Helena Rubinstein skin bleach that promises to get rid of summer sun by restoring a light complexion. A group of women in different poses Description automatically generated Top six finishers in beauty competition as selected by reader-voters. Bantu World, 1933. Studio portrait of Sulochana dressed in Western suit and hat. National Film Archive of India. A person with her hand on her shoulder Description automatically generated Studio portrait of Sulochana dressed in Indian sari, bindi, and braids. National Film Archive of India. https://www.mentimeter.com/app/dashboard - The consumption and meaning of fashion Dress as a “situated bodily practice” Joanne Entwistle, The fashioned Body The Fashioned Body: Fashion, Dress and Modern Social Theory “These are fashions not yet in our vernacular, but they are not really so strange. The Paris that makes these fashions today is a Paris that belongs to everybody. It reaches into India, Athens, and Mexico to make fashions for Baltimore and Seattle, as much as for Rome and London.” Beatrice Mathieu, “Paris Moves On,” Harper’s Bazaar (April 1935): 66. Issue: - January 1 1933 | Vogue - Fashion sits firmly within the narrative of globalization Categorising the world through dress: national costumes A person and two children wearing traditional clothes Description automatically generated A person in a suit and tie walking on a stage Description automatically generated josephine baker A person on the cover of a magazine Description automatically generated - Ethnic costumes as key to presentation of non.white women Figure 2 Anna May Wong's Life in Photos - Rare Vintage Photos of Anna May Wong in Hollywood. A newspaper article with several women Description automatically generated with medium confidence Princess Karam of Kapurthala featured in an article titled, “When the American Picked the Most Beautiful Women in Europe,” The Decatur Daily, August 25, 1934. Old Time Charm: Maharani Sita Devi of Kapurthala (aka Princess Karam) was one of the most glamorous women of her time. She is often credited with introducing Indian fashion to Parisian society Schiaparelli sari in the Minneapolis Sunday Tribune (bottom left), June 23, 1935. A person sitting on the ground Description automatically generated - Fashion was presented as a tool that allowed white women constantly to reshape and reimagine themselves through the consumption of the racialized “other.” “the exotic, a determining feature of Art Deco, was a vital component of modernity. . . Rarely used as a derogatory term, the ‘exotic’ suggested an exciting, sensual and decorative vision that carried the dynamics of nineteenth century colonialism into a global future.” Ghislaine Wood, “The Exotic,” in Art Deco 1910–1939, eds. Charlotte Benton, Tim Benton, and Ghislaine Wood (London: V&A Publications, 2003): 125. Every One Likes Chocolate, Page 66 | NOVEMBER 1, 1936 | Vogue https://archive.vogue.com/article/1936/11/01/every-one-likes-chocolate -Used to define a white modernity, rather than a global one -Fashion offered an embodied experience of the Other to white women. A person in a garment Description automatically generated Bali Bra Ad, Vogue , March 1, 1937. “…the modern woman, however, will not bone and lace herself into rigidity, but the BALI Long Line Bra will help to get rid of that “tyre” around the waist . . . BALI design captures the exotic charm of Nature’sown masterpiece Balinese women—the same natural roundness, firm uplift and useful separation is achieved by ingeniousdesigning and not by artificial stiffening.” -The ad copy frames the bra as a modern and “ingenious” technological advance that allows the white female consumer to replicate the natural beauty of the Balinese maiden. -German army doctor Gregor Krause’s two Volume book on Bali published in the 1920s. He claimed that, “carrying every burden on their heads with raised arms develops their shoulders and their muscular system, and the always powerful great chest muscles provide the most favorable foundation for beautifully formed breasts. “Exotic” fashions and colonialism Tattoo lipstick ad, 1934 Tattoo rouge puff Tattoo rouge compact James Leslie Younghusband and the Tattoo brand (also Savage Cosmetics) Vintage Savage blush Vintage Savage blush Savage lipstick ad, 1934 A person writing on a wall Description automatically generated Annemarie Selinko, ‘Erni Kniepert freut sich auf Holly-Holly-Hollywood’, Die Bühne, no.460 (1937) A newspaper article with a person in a hat Description automatically generated A black and white page of a magazine Description automatically generated A black and white page of a magazine Description automatically generated ‘Man schenkt heuer „Alpenheu“ und „Alpenrosen“’[advertisement] Die Bühne no. 462 (1937) A black and white image of women's dresses Description automatically generated Erni Kniepert, ‘Das Dirndl’, Die Bühne, no. 404 (1935) Lisl Weil, ‘Interview mit einem “Dirndl”-Kleid’, Die Bühne no.453 (1937) A newspaper with a black and white page Description automatically generated A close-up of a newspaper Description automatically generated As seen by Him, ‘Middle Europe rediscovered‘, Vogue 15 March 1931 A person in a dress and hat Description automatically generated Elizabeth Ives, ‘Back to the farm’, 1 May 1935 The Indian Fashion Show, 1942–1972 “Women of both Indian and White groups share a deep common interest in fine clothing and have achieved results which in many ways have remarkable similarity in purpose and function if not in actual details of materials used. Like her White sister the Indian woman is well aware of new materials for construction and decoration; and of the most effective use of these materials. Her styles change more slowly than those of our life—[but] in response to the same felt need for something different now and then. She recognizes clearly that different types of garments are indicated for different purposes; that dressing up does something important for a woman’s psyche.” Frederic H. Douglas - Douglas chose women because he felt that a universal trait, women’s common instinctual interest in clothing and their psychological need for sartorial novelty, overrode cultural and racial distinctions. - Presented more than 180 times between 1942 and 1972 I think that there shouldn’t be white people modeling Native American culture, there should be Indian people modeling them instead of white people. All the manikins [sic] should be Native American so they could get the experience of what they really looked like instead of Blonds, Brunettes, or Red Heads. Ohh—one more thing, their [sic] were hardly any of this gay shit here and this gallery should be run by Indians not white hoes. —Native visitor to Fashion Pathways exhibit The idea of a Native American fashion show and wearable art is great. I do feel the beauty of Native Americans [is] best portrayed [in] their clothing. I’d like to see a contemporary version with the women modeling their own clothes (art) and the telling about their process and the meaning of the materials, symbols, etc. This is a fantastic concept and should be expanded and continued. — White Visitor to Fashion Pathways exhibit Sketch of the Indian Fashion Show exhibit that was erected at the Baltimore Museum of Art A person in a red and black outfit Description automatically generated - Douglas chose women because he felt that a universal trait, women’s common instinctual interest in clothing and their psychological need for sartorial novelty, overrode cultural and racial distinctions. - Presented more than 180 times between 1942 and 1972 - Douglas summarized his main points about cross-cul tural understanding and the eradication of ethnic/cultural misrepresentations: (1) gender was more basic than race or culture; (2) specific fashions are situa tion (time), not culture, dependent; (3) fashion is not the exclusive possession of elites but a right of all women; and (4) by following Native American women’s sensibilities and values Euro-American women would improve American life, eliminating prejudice and the ills of conspicuous consumption.