Kirjahaku

In late-1990s Britain, the salwaar-kameez or 'Punjabi suit' emerged as a high-fashion garment. Popular both on the catwalk and on the street, it made front-page news when worn by Diana, Princess of Wales and by Cherie Booth, the wife of UK Prime Minister Tony Blair. In her ethnography of the local and global design economies established by Asian women fashion entrepreneurs, Parminder Bhachu focuses on the transformation of the salwaar-kameez from negatively coded 'ethnic clothing' to a global garment fashionable both on the margins and in the mainstream. Exploring the design and sewing businesses, shops and street fashions in which this revolution has taken place, she shows how the salwaar-kameez is today at the heart of new economic micro-markets which themselves represent complex, powerfully coded means of cultural dialogue and racial politics. The innovative designs of second-generation British Asian women are drawn from characteristically improvisational migrant cultural codes. Through their hybrid designs and creation of new aesthetics, these women cross cultural boundaries, battling with racism and redefining both Asian and British identities. At the same time, their border-crossing commercial entrepreneurship produces new diaspora economies which give them control over many economic, aesthetic, cultural and technological resources. In this way, the processes of global capitalism are gendered, racialized and localized through the interventions of diasporic women from the margins.

In late-1990s Britain, the salwaar-kameez or 'Punjabi suit' emerged as a high-fashion garment. Popular both on the catwalk and on the street, it made front-page news when worn by Diana, Princess of Wales and by Cherie Booth, the wife of UK Prime Minister Tony Blair. In her ethnography of the local and global design economies established by Asian women fashion entrepreneurs, Parminder Bhachu focuses on the transformation of the salwaar-kameez from negatively coded 'ethnic clothing' to a global garment fashionable both on the margins and in the mainstream. Exploring the design and sewing businesses, shops and street fashions in which this revolution has taken place, she shows how the salwaar-kameez is today at the heart of new economic micro-markets which themselves represent complex, powerfully coded means of cultural dialogue and racial politics. The innovative designs of second-generation British Asian women are drawn from characteristically improvisational migrant cultural codes. Through their hybrid designs and creation of new aesthetics, these women cross cultural boundaries, battling with racism and redefining both Asian and British identities. At the same time, their border-crossing commercial entrepreneurship produces new diaspora economies which give them control over many economic, aesthetic, cultural and technological resources. In this way, the processes of global capitalism are gendered, racialized and localized through the interventions of diasporic women from the margins.

We live in times of extreme change. There could be no better time than now to interrogate the lives of new kinds of people, movers and makers, who navigate fragility and uncertainty to create with daring, often against great odds. Parminder Bhachu uses their dramatic life stories to uncover what makes for creativity and resilience in times of disequilibrium. What can be learnt from their creative moxie as innovators outside establishment powers? Why has their creative reach grown exponentially in our globally connected twenty-first century? How have their abilities to innovate been catalyzed without subscription to knowledge hierarchies and monopolies? These culturally dexterous movers who possess movement capital, advanced with every migration, have translated ancient maker and craft skills into transforming modern technology, science, design, architecture, and the arts. Generous, inclusive, and deeply collaborative, they are at the heart of open source sharing for collective intelligence, the common good, and the maker movement. They invigorate the economies they reside in greatly enhancing creative capacities and reach. Bhachu, herself a multiple-migrant maker, offers us a model for a hopeful way forward, bringing her unique ethnographic insights to illuminate what can be learnt about thriving in worlds of flux.

We live in times of extreme change. There could be no better time than now to interrogate the lives of new kinds of people, movers and makers, who navigate fragility and uncertainty to create with daring, often against great odds. Parminder Bhachu uses their dramatic life stories to uncover what makes for creativity and resilience in times of disequilibrium. What can be learnt from their creative moxie as innovators outside establishment powers? Why has their creative reach grown exponentially in our globally connected twenty-first century? How have their abilities to innovate been catalyzed without subscription to knowledge hierarchies and monopolies? These culturally dexterous movers who possess movement capital, advanced with every migration, have translated ancient maker and craft skills into transforming modern technology, science, design, architecture, and the arts. Generous, inclusive, and deeply collaborative, they are at the heart of open source sharing for collective intelligence, the common good, and the maker movement. They invigorate the economies they reside in greatly enhancing creative capacities and reach. Bhachu, herself a multiple-migrant maker, offers us a model for a hopeful way forward, bringing her unique ethnographic insights to illuminate what can be learnt about thriving in worlds of flux.