Special issue of Fashion, Style & Popular Culture 4.2 - out now!

Intellect is delighted to announce that the new issue of Fashion, Style & Popular Culture 4.2 is now available. 


For more information about this issue, click here or email


This special issue of FSPC focuses on ‘Fashion & Appropriation’. Appropriation is a complex political and ethical discussion with many nuances and layers that require careful and critical unpacking; the articles in this special issue approach this complexity from different angles and perspectives. Guest Editors, Denise Nicole Green and Susan B. Kaiser, hope that this issue will encourage readers to think about appropriation in new ways, engage with its various definitions and articulations, and consider the impact appropriation has on communities, identities, economies, and aesthetics. 


Articles within this issue include (partial list):


Inspiration or prototype? Appropriation and exploitation in the fashion industry

Authors: Jennifer Ayres

Page Start: 151


This articles focuses on the fashion industry’s relationship to vintage garments as design inspiration and product prototype. It analyses how appropriation of vintage is rationalised in standard industry practice and how ethical boundaries are drawn and maintained between ‘appropriation’ and ‘inspiration’ in the creative process. When talking with designers the discussion of inspiration and appropriation quickly becomes a personal and subjective discussion about the integrity of the design process and labour. Interns and employees in the industry were expected to knock-off other designs and designers while their own creativity was stifled and/or exploited. The central contradiction that emerges from this research is how an industry known for its creativity and ingenuity – notably an industry that polices copyright infringements around the world – routinely engages in practices of forgery that weaken both its claims to authorship and the lucrative status of designer-as-artistic-genius. Ayres argues it is crucial to explore these issues through the situated and local everyday practices in the fashion industry in order to understand how these contradictions are navigated and even made profitable.


Appropriation, articulation and authentication in Acid House: The evolution of women’s fashion throughout the early years (1987-1988) of the Acid House culture

Authors: Tara Tierney

Page Start: 179


The purpose of this article is to explore how ‘dress’ from the 1960s’ American Hippy movement was appropriated and adapted by women in the ‘British Acid House’ music culture. The emergence of ‘Acid House’ transformed nightclubs from ‘places for drinking and looking good but not for dancing’, into a space where ravers would dance through the night fuelled by the drug, ecstasy. These changes manifested in a number of ways, most notably, through transformation of outward appearance, which included appropriation of the Hippy movement and ‘First Summer of Love’ in 1967. Similarities between Acid House and the Hippy culture were so akin that this early period of House music became known as ‘The Second Summer of Love’.


Dreaded culture: The appropriation of a culture of resistance in Aotearoa New Zealand

Authors: Harriette Richards

Page Start: 215


In Subculture: The Meaning of Style ([1979] 1988), Dick Hebdige noted that ‘somewhere between Trenchtown and Ladbroke Grove the cult of Rastafari had become a “style”: an expressive combination of “locks,” of khaki camouflage and “weed”’. For cultures of resistance such as Rastafari, aesthetic determinants are more than simple visually identifying features. Rather, these elements are the foundation of unity, a shared aesthetic that points to a shared world-view, a shared consciousness or livity. However, in the processes of cultural appropriation, the significance of such aesthetic qualities are often entirely re-determined. This article considers the cultural appropriation of Rastafari in the context of Aotearoa New Zealand in order to reflect upon the intricate ways in which the aesthetic elements of culture play into the processes of appropriation. In so doing, this article illustrates the contradictions and ambiguities involved in processes of cultural appropriation and suggests that such processes be considered in relation to their contextual adoption, rather than by way of simple reductionist binaries.

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