SUMMARY

Dedicated to the interdisciplinary study of fashion from an academic perspective, the quarterly journal Fashion Theory: The Journal of Dress, Body & Culture views fashion as a cultural phenomenon, offering the reader a wide range of articles by leading Western and Russian spe­cialists, as well as classical texts on fashion theory. From the history of dress and design to body practices; from the work of well-known de­signers to issues around consumption in fashion; from beauty and the fashionable figure through the ages to fashion journalism, fashion and PR, fashion and city life, art and fashion, fashion and photography — Fashion Theory covers it all.

In this issue's Dress section, we take a closer look at clothing and uniform.

In Wearing Ideology: How Uniforms Discipline Minds and Bodies in Japan, Brian McVeigh investigates the salience of uniforms in everyday Japan. Uniforms, of course, are certainly not unique to that country, but their ubiquity in this nation-state points to some important linkages be­tween politicoeconomic projects, bodily management, the construction of subjectivity and material culture in the form of dress. McVeigh exam­ines these linkages by first briefly delineating the politicoeconomic ide­ology that has a vested interest in reproducing them through uniforms, which are tangible symbols of the enormous power and extensiveness of politicoeconomic structures. These macrostructures form the matrix in which the use of objects, micro practices, and their concomitant sub­jectivity is structured. Next, he describes how uniforms can be viewed as material markers of a life cycle managed by powerful politicoeconomic institutions. He focuses on student uniforms, since these are key socializ­ing objects in Japan's politicoeconomic order. The author also highlights the variable of gender in regulated attire.

Clare Rose offers What Was Uniform about the Fin-de-Siecle Sailor Suit? The sailor suits widely worn by children in late nineteenth-century Britain have been interpreted at the time, and since, as expressions of an Imperial ethos. Yet a closer examination of the ways that these garments were produced by mass manufacturers, mediated by advertisers and fashion advisors and consumed by families makes us question this char­acterization. Manufacturers interpreted sailor suits not as unchanging uniforms, but as fashion items responding to seasonal changes. Consum­ers used them to assert social identities and social distinctions, selecting from the multiple variants available. Cultural commentators described sailor suits as emulating royal practice — but also as "common" and to be avoided. A close analysis of large samples of images and texts from the period 1870-1900 reveals how these different meanings overlapped, making the fin-de-siecle sailor suit a garment that undermines many of our assumptions.

Olga Khoroshilova's "Blue Beef", "Toffs" and "Cornets": High School Uniforms in Imperial Russia looks at the emergence and spread of the uniform worn by Russian high school (gymnazii) pupils in the nineteenth and twentieth centuries. Analysing archive documents, laws, regulations and numerous memoirs, the author tells the story of the appearance and evolution of students' uniform, and of the influence of military style.

In Uniform Image: Girls' School Dress in Russia Past and Present, Lilya Zinovieva examines the history of girls' school uniform in Rus­sia, looking at the ways in which school dress influenced the habitus of young female students in institutes, colleges and gymnazii between the eighteenth and early twentieth centuries, as well as after the revolution. Educational establishments created unique disciplinary spaces and prac­tices for girls in Russia. The special uniforms designed for girls and young women of each particular age group were a vital element of this experi­ence. The author looks at the aims laid out in the statutes of educational establishments, examining specific disciplinary practices and the struc­tural influence which uniforms had on the bodies of schoolgirls, college and gymnazii students. Zinovieva pays special attention to the ensuing habitus of female students, analysing present-day school uniform as the successor of past disciplinary practices and its impact on the self-image of today's schoolgirls.

In "Demobbing Is as Inevitable as the Collapse of Capitalism": Non­statutory Variations on Soviet Army Uniform in the 1970s and 80s, Oleg Lysenko describes and attempts to explain non-statutory dress prac­tices in the Soviet Army in the 1970s and 1980s. Besides his own personal observations, the author uses material obtained from a series of focused interviews with soldiers and officers serving in the Soviet Army in those decades. The article looks at the main alterations introduced to the stan­dard army uniform, turning also to the links between these variations and social relationships. Non-statutory dress in the military could be a means of symbolically stressing informal relations between privates and sergeants (hazing) or of completing the social hierarchy at the bottom of the army pecking order. Non-statutory dress could also highlight accep­tance of the values of archaic male union within the army context.

In the Body section, we look at parts of the body in the history of fash­ion, this time focusing on the face.

Morag Martin presents Casanova and Mlle Clairon: Painting the Face in a World of Natural Fashion. By the late 1770s, fashions had begun to shift radically for the elite and respectable citizens of France and their counterparts throughout Europe. The fashion that was to replace aris­tocratic artifice was the cult of the natural. This revolution in styles had as its target not just extravagant spending on frills, but the aristocratic definition of selfhood itself. The goal was to illuminate what had pre­viously been hidden and simplify what had previously been overdone. The wordplays, innuendoes, and masked balls of the Old Regime elites were replaced by frank discussion, simple emotion and polite soirees. Due to their focus on feminine vanity and performance, the memoirs of Mlle Clairon (1723-1803), an actress at the Comedie Frangaise, provide insight into how women coped with the expectations of natural beauty. The memoirs of Giacomo Casanova de Seingalt (1725-1798) are a vast treasure of commentary not only on what he found attractive in women, but on his own grooming rituals.

Meredith Jones's article Cosmetic Surgery and the Fashionable Face traces some of the relations between cosmetic surgery and fashion, argu­ing that both operate inside a cultural aesthetic where two-dimensional images intertwine with three-dimensional "reality". This is both a com­plex and a simple idea. The author's concern is not to definitively catego­rize the nature of this relationship, but rather to discern some of the ways that people negotiate it. Profound tensions, ambivalences, and concerns arise from the interaction of two dimensions and three dimensions. We find ourselves operating between them, layering them, climbing from one to the other, and trying to reconcile them — the face of the cosmetic surgery recipient exemplifies this struggle.

Fadwa El Guindi's paper Veiling Resistance is an anthropological analysis of Muslim veiling as it relates to Middle East women's move­ments. The article uses empirically derived data on women's populist Islamic activism that began in the 1970s, and a lens critically scrutiniz­ing feminist writing to first expose the "Islamicness" of 1920s femi­nist movements commonly described as secular. The author then re­affirms the colonial underpinnings beneath Western and Westernized voices of women's liberation, and finally innovatively reveals an ear­ly thread of Islamic feminism and resistance. Islamic feminism set it­self unambiguously apart from the two feminisms of Huda Sha'rawi (1879-1947) and Malak Hifni Nasif (1886-1918) when pioneer Zaynab al-Ghazali carved an alternative path, rejecting the Western woman as a model for Muslim women. She abandoned the Egyptian Feminist Union and founded, at the age of eighteen, the Muslim Women's As­sociation (1936-1964). Seeds of Islamic feminism were sown long be­fore al-Ghazali however: in 1908 a group of Muslim women in Egypt led by Fatima Rashid urged women to adhere to religion and veiling as "the symbol of our Muslim grandmothers". Modesty, morality and Islamic principles were the foundations of Islamic feminism. Despite their differences, this article shows that the different feminist move­ments are about the emancipation of women, whether from exclusion or from imposed, imported identities, consumerist behaviors, or an in­creasingly materialist culture.

In Culture Hans J. Rindisbacher, the guest editor of the section, pres­ents a collection of papers dedicated to scents.

Jim Drobnick's The City, Distilled deals with cities and smells. The city has served as a popular trope for the marketing of scents since the beginning of modern perfumery. Many of these perfumes trade on fan­tasies of travel, desire, romance and exoticism that are then attached to mostly abstract scents. Contemporary artists, by contrast, utilize the techniques, personnel and aromatic substances of perfumery, but with a self-reflexive intention and a realist sensibility. This paper examines the practice of distillation in contemporary olfactory art and the artistic search for new strategies to address the aesthetic and political dimen­sions of urban experience. In these works, the city's "smellscape" be­comes a protean medium for affective states, poetic contemplations and resistant meanings.

Hans J. Rindisbacher's Breathing, Dressing, and the Essence of Being is devoted to Gustav Jager (1832-1917), the eccentric German zoologist, homeopath and discoverer of the human soul in scents (Die Entdeckung der Seele, 1878), who also developed a line of clothing to promote health by regulating body emanations. He is a figure that uniquely combines the olfactory with the sartorial, which he does in the framework of the late nineteenth-century life reform movements in Germany that includ­ed both physical and spiritual dimensions. This paper traces the devel­opment of Jager's later work toward its increasing focuses on liminal- ity, membranes, transfers and transitions — concepts that can be used to analyze both smells and clothing. In the contemporary intercultural context, Jager is being rediscovered in the field of a new ecological aware­ness in Germany, whereas in England his legacy is more concrete — in the fashion house Jager: www.jaeger.co.uk.

Maksim Klimentiev offers his paper Creating Spices for the Mind: The Origins of Modern Western Perfumery. Despite numerous claims of ancient roots, modern Western perfumery is as young as analyti­cal chemistry, coming into existence as recently as the end of the eigh­teenth century (Luca Turin). Contemporary perfumery is thus only as old as modernity itself and, as such, can be considered both an integral part of the European Enlightenment, and as something — paradoxi­cally — still related to the beliefs, assumptions and cultural practices associated with the pre-modern world. As medieval alchemical and as­trological discourses sank into oblivion with the advent of modernity that reinvented them as chemistry and astronomy, perfumery emerged as an occupation that in its operation relies heavily on the instruments of contemporary science, while making some arcane claims more char­acteristic of the esoteric nature of alchemy and astrology. The article explores the possible reasons for this discrepancy and inquires into the cognitive and psychological roles modern perfumery can play in West­ern and Russian culture today.

The Role of Perfumes in Fashion Designer Brands by Vedat Ozan claims that fashion, the manufactured feeling of the need for something that is not vital, affects above all individuals who see external develop­ment as parallel to the internal development of the self. Dedicated fash­ion customers are perfectly willing to pay much more money for one of two identical non-vital fashion items because of its specific brand associa­tions. This paper explores the etymology of brands and branding, com­paring select examples to their modern versions in fashion labels. The specific foci of inquiry are the functions of fragrances for select fashion labels, and the role fragrances play in creating brand identity, especial­ly by establishing ties between a luxury label and customers with lower purchasing power.

JuMsz Katalin shares Body-Odour-Cleanliness within the "Happi­est Barracks": Hungary 1960-1989. Every culture defines its own cri­teria of purity and cleanliness, and scent is one of the most important areas. Recent ethnographic research into personal hygiene habits re­veals significant social changes in Hungary related to body odours. Twentieth-century humans relate to bad body odours, indeed to all natural smells emitted by the body, with rising concern, increasingly frequently characterizing them as unpleasant. This process developed peculiarly in Eastern European socialist societies, where new Western deodorization and fragrance trends unfolded in a manner of their own while the market for cosmetics was limited. Certain mass products fun­damentally defined the fragrance milieu of the 1960s and 1970s and the "uniform" fragrance of clean, well-groomed people stood in stark contrast to the "undesirable" smell of scruffier individuals. This study reviews the establishment of, and changes in, deodorization and per­fume use based on consumption data for cosmetics and personal hy­giene products in Hungary from the 1960s to the transformation of the regime in the 1990s.

In the Museum Business column, Amy de la Haye and Judith Clark present One Object: Multiple Interpretations. This article develops a pa­per of the same title presented jointly by the authors at London College of Fashion's Centenary Conference in the autumn of 2006. It examines and explores how curatorial interventions can inform the interpretation and display of dress within the context of the museum or gallery. To do this, the authors case-study one garment type — the mass-produced overall coats manufactured as part of the working uniform of Britain's Women's Land Army (WLA) during the Second World War. Curator and dress historian Amy de la Haye examines the processes of acqui­sition, object description, classification and empirical evidence, finally proposing some curatorial strategies for interpreting the coats. Exhibi­tion-maker and curator Judith Clark makes suggestions as to how these garments might be further interpreted through issues of display within the temporary space of an exhibition.

In the Books section, Daria Tarnopolskaya presents Twenty Five Gems of Fashion and Modernity: a review of Bernabei R. Contemporary Jew­ellers: Interviews with European Artists. Oxford: Berg, 2011. 288 pp.; ill.

In Inside Tattoos and Personal Piercings, Alexander Markov offers a review of Winge Th. M. Body Style. London; N.Y.: Berg, 2012. 148 pp. Subculture Style Series.

What Do You Know of Mademoiselle Rose? enquires Ksenia Boderiu in her review of Michelle Sapori. Rose Bertin, Ministre des Modes de Marie-Antoinette. Paris: Ed. de l'Institut Frangais de la Mode: Ed. du Regard, 2003. 416 pp.

Vera Yudintseva offers Fashion and Art: Together for 200 Years, on Fashion and Art. Adam Geczy and Vicki Karaminas (eds.) Oxford; N.Y.: Berg, 2012. 224 pp.

In the Events section, Elena Igumnova offers Two Dianas: her im­pressions of "Diana Vishneva by Patrick Demarchelier" at the Moscow Multimedia Art Museum, 4-30 September 2012.

The Red Dior: Focus on Folklore by Maria Yasnova reviews "The Glory of Russian Fashion" at Moscow's Manezh Central Exhibition Cen­tre, 18-31 October 2012.

Uniquely Universal by Olga Annanurova takes a look at "The Little Black Jacket: Chanel's Classic Revisited by Karl Lagerfeld and Carine Roitfeld" at ARTPLAY Central Exhibition Hall, Moscow, 20 October — 11 November 2012.

Maria Khachaturian in Vintage Haute Couture: New in Paris shares her impressions of "Les Collections Vintage" at the Hotel du Louvre, Paris, 25-26 September 2012.

In An Artists' Fashion Show, she also reviews the "Impressionism and Fashion" exhibition at the Musee d'Orsay, Paris, 25 September 2012 — 20 January 2013.

Ksenia Scherbino presents Alice vs. Lolita: Japan Pines for the West: her thoughts on "Kitty and the Bulldog: Lolita Fashion and the Influence of Britain" at the Victoria and Albert Museum, London, 23 April 2012 — 27 January 2013.

Liubov Artemieva in Le Corbusier: Living Architecture looks at the "Secrets of Creativity. Between Painting and Architecture" exhibition at Moscow's Pushkin State Museum of Fine Arts, 25 September 2012 — 18 January 2013.