Kirjahaku

The Force of Custom presents a finely textured ethnographic study that sheds new light on the legal and moral ordering of everyday life in northwestern Kyrgyzstan. Through her extensive fieldwork and firsthand experience, Judith Beyer reveals how Kyrgyz in Talas province negotiate proper behavior and regulate disputes by invoking custom, known to the locals as salt. While salt is presented as age-old tradition, its invocation is shown to be a highly developed and flexible rhetorical strategy that people adapt in order to meet the challenges of contemporary political, legal, economic, and religious environments. Officially, codified state law should take precedence when it comes to dispute resolution, yet the unwritten laws of salt and the increasing importance of Islamic law provide the standards for ordering everyday life. As Beyer further demonstrates, interpretations of both Islamic and state law are also intrinsically linked to salt. By interweaving case studies on kinship, legal negotiations, festive events, mourning rituals, and political and business dealings, Beyer shows how salt is the binding element in rural Kyrgyz social life and how it is used to explain and negotiate moral behavior and to postulate communal identity. In this way, salt provides a time-tested, sustainable source of authentication that defies changes in government and the shifting tides of religious movements.

An open access book, Antigender Fashion is a rich examination of gender fluidity in contemporary fashion design, Judith Beyer develops an emerging new theoretical framework for understanding how fashion can blur and challenge gender boundaries.How is gender fluidity in contemporary fashion different from 20th century androgyny or millennial unisex styles? Like antifashion, which opposes and challenges fashion, Beyer argues that antigender fashion seeks to dismantle and confront binary gender signifiers. After tracing the history of gender-blurring fashion from Marlene Dietrich’s androgynous tailoring to Alessandro Michele’s floral Gucci suits, case studies of four high-profile fashion brands reveal the diverse approaches to gender-fluidity in contemporary fashion.Investigating each case study through multiple theoretical perspectives – from gender studies to gothic horror, cyborg theory to Afrofuturism – Beyer situates antigender fashion in a rich theoretical landscape and illuminates exciting new critical directions for students and researchers. Can antigender fashion influence the construction of contemporary masculinities and femininities – and can it be a catalyst for change? The ebook editions of this book are available open access under a CC BY-NC-ND 4.0 licence on bloomsburycollections.com. Open access was funded by the Bloomsbury Open Collections Library Collective.

An open access book, Antigender Fashion is a rich examination of gender fluidity in contemporary fashion design, Judith Beyer develops an emerging new theoretical framework for understanding how fashion can blur and challenge gender boundaries.How is gender fluidity in contemporary fashion different from 20th century androgyny or millennial unisex styles? Like antifashion, which opposes and challenges fashion, Beyer argues that antigender fashion seeks to dismantle and confront binary gender signifiers. After tracing the history of gender-blurring fashion from Marlene Dietrich’s androgynous tailoring to Alessandro Michele’s floral Gucci suits, case studies of four high-profile fashion brands reveal the diverse approaches to gender-fluidity in contemporary fashion.Investigating each case study through multiple theoretical perspectives – from gender studies to gothic horror, cyborg theory to Afrofuturism – Beyer situates antigender fashion in a rich theoretical landscape and illuminates exciting new critical directions for students and researchers. Can antigender fashion influence the construction of contemporary masculinities and femininities – and can it be a catalyst for change? The ebook editions of this book are available open access under a CC BY-NC-ND 4.0 licence on bloomsburycollections.com. Open access was funded by the Bloomsbury Open Collections Library Collective.

Before Alessandro Michele took the creative helm at Gucci in 2015, the brand was mostly known for its sleek sophistication and sexy hedonism. Despite having worked at the Italian fashion house for over twelve years as the accessories and jewellery designer, Michele was relatively unknown in the fashion industry and the public sphere. All of that was to change when he sent his models down the runway for the 2015 Fall ready-to-wear collection in an eclectic mix of pussy-bow blouses, chiffon dresses, wallpaper prints and a motley collection of accessories, including fur-lined loafers, berets and granny-style horn-rimmed glasses. Michele’s stylistic design approach created an aesthetic reminiscent of the fashion eccentric who wears flea market finds with high-end designer and heirloom pieces – imperfect, nostalgic and maximalist. The new Gucci woman (and man) were intellectual and sensual misfits who are perfectly at home in the glamourous rag-tag aesthetic of a Wes Anderson film. With his inaugurate collection, Michele tapped into the zeitgeist that was yearning for a more colourful and playful design, and a disregard of traditional gender divisions: while Gucci has hitherto showcased its men’s and women’s collections separately, as well as favoured traditional masculine and feminine looks respectively, Michele broke with the idea of a gender binary, ushering in gender fluidity and a new fantastical vision of masculinity. Although his collections were spectacular in their scope (the Fall/Winter 2017 consists of roughly 120 looks), the designs are also a testimony to his ability to scramble signifiers of gender, pop culture, history and time. Referencing and borrowing from philosophical concepts and ideas, such as the infamous Cyborg collection (Gucci Fall/Winter 2019) that envisioned subjectivities beyond the confines of the human body with replica heads or extra eyes on their hands; the Fall/Winter 2016 collection titled ‘Rhizomatic Scores’, referencing Deleuze and Guattari’s influential concept; or the Fall/Winter 2020 menswear collection titled ‘Masculine, Plural’ that referenced Butler’s notion of gender performativity, Michele exemplifies a fashion auteur who knows how to play not only with gender signifiers but also with signifiers of time, culture and species.

Before Alessandro Michele took the creative helm at Gucci in 2015, the brand was mostly known for its sleek sophistication and sexy hedonism. Despite having worked at the Italian fashion house for over twelve years as the accessories and jewellery designer, Michele was relatively unknown in the fashion industry and the public sphere. All of that was to change when he sent his models down the runway for the 2015 Fall ready-to-wear collection in an eclectic mix of pussy-bow blouses, chiffon dresses, wallpaper prints and a motley collection of accessories, including fur-lined loafers, berets and granny-style horn-rimmed glasses. Michele’s stylistic design approach created an aesthetic reminiscent of the fashion eccentric who wears flea market finds with high-end designer and heirloom pieces – imperfect, nostalgic and maximalist. The new Gucci woman (and man) were intellectual and sensual misfits who are perfectly at home in the glamourous rag-tag aesthetic of a Wes Anderson film. With his inaugurate collection, Michele tapped into the zeitgeist that was yearning for a more colourful and playful design, and a disregard of traditional gender divisions: while Gucci has hitherto showcased its men’s and women’s collections separately, as well as favoured traditional masculine and feminine looks respectively, Michele broke with the idea of a gender binary, ushering in gender fluidity and a new fantastical vision of masculinity. Although his collections were spectacular in their scope (the Fall/Winter 2017 consists of roughly 120 looks), the designs are also a testimony to his ability to scramble signifiers of gender, pop culture, history and time. Referencing and borrowing from philosophical concepts and ideas, such as the infamous Cyborg collection (Gucci Fall/Winter 2019) that envisioned subjectivities beyond the confines of the human body with replica heads or extra eyes on their hands; the Fall/Winter 2016 collection titled ‘Rhizomatic Scores’, referencing Deleuze and Guattari’s influential concept; or the Fall/Winter 2020 menswear collection titled ‘Masculine, Plural’ that referenced Butler’s notion of gender performativity, Michele exemplifies a fashion auteur who knows how to play not only with gender signifiers but also with signifiers of time, culture and species.