Scholars have argued that postmodernism is dead and that we are entering into a new era that some have labelled altermodernism, digimodernism, performatism, and post-postmodernism. This book expands on the nascent scholarship of post-postmodernism to highlight how dress, fashion, and appearance are reflections of this new age. The volume starts with a discussion of fashion, subjectivity, and time and an analysis of temporality, technology, and fashion in post-postmodern times. Later chapters analyse the work of design houses and mass producers such as Vetements, Gucci, and Uniqlo whose products align with post-postmodern aesthetics, hyperconsumption, and hypermodern branding. The book looks at diverse geographic and identity markers by discussing post-postmodernism and the religio-politico-cultural questions in South Asian Muslim fashion, image and identity presentation in queer social networking apps, and by exploring fashion designer Tom Ford's output as a movie director. Two chapters discuss the post-postmodern fashion exhibition with analyses of recent exhibitions and an in-depth look at the work of exhibition maker Judith Clark. The final chapter is written by members of The Rational Dress Society, a counter-fashion collective that makes JUMPSUIT, an experimental garment to replace all clothes. Fashion, Dress, and Post-postmodernism is a companion to research on relationships between post-postmodernism, fashion, and dress, and the go-to resource for researchers and students interested in these areas.

Scholars have argued that postmodernism is dead and that we are entering into a new era that some have labelled altermodernism, digimodernism, performatism, and post-postmodernism. This book expands on the nascent scholarship of post-postmodernism to highlight how dress, fashion, and appearance are reflections of this new age. The volume starts with a discussion of fashion, subjectivity, and time and an analysis of temporality, technology, and fashion in post-postmodern times. Later chapters analyse the work of design houses and mass producers such as Vetements, Gucci, and Uniqlo whose products align with post-postmodern aesthetics, hyperconsumption, and hypermodern branding. The book looks at diverse geographic and identity markers by discussing post-postmodernism and the religio-politico-cultural questions in South Asian Muslim fashion, image and identity presentation in queer social networking apps, and by exploring fashion designer Tom Ford's output as a movie director. Two chapters discuss the post-postmodern fashion exhibition with analyses of recent exhibitions and an in-depth look at the work of exhibition maker Judith Clark. The final chapter is written by members of The Rational Dress Society, a counter-fashion collective that makes JUMPSUIT, an experimental garment to replace all clothes. Fashion, Dress, and Post-postmodernism is a companion to research on relationships between post-postmodernism, fashion, and dress, and the go-to resource for researchers and students interested in these areas.

Post-Postmodernism begins with a simple premise: we no longer live in the world of "postmodernism," famously dubbed "the cultural logic of late capitalism" by Fredric Jameson in 1984. Far from charting any simple move "beyond" postmodernism since the 1980s, though, this book argues that we've experienced an intensification of postmodern capitalism over the past decades, an increasing saturation of the economic sphere into formerly independent segments of everyday cultural life. If "fragmentation" was the preferred watchword of postmodern America, "intensification" is the dominant cultural logic of our contemporary era. Post-Postmodernism surveys a wide variety of cultural texts in pursuing its analyses—everything from the classic rock of Black Sabbath to the post-Marxism of Antonio Negri, from considerations of the corporate university to the fare at the cineplex, from reading experimental literature to gambling in Las Vegas, from Badiou to the undergraduate classroom. Insofar as cultural realms of all kinds have increasingly been overcoded by the languages and practices of economics, Nealon aims to construct a genealogy of the American present, and to build a vocabulary for understanding the relations between economic production and cultural production today—when American-style capitalism, despite its recent battering, seems nowhere near the point of obsolescence. Post-postmodern capitalism is seldom late but always just in time. As such, it requires an updated conceptual vocabulary for diagnosing and responding to our changed situation.

"This is an edited collection of new scholarship on the emerging topic of post-postmodernism and how it relates to fashion, dress and appearance"--

What motivates people to dress in a manner that marks them out as different to the conventional norm? Is it true that, with dress, 'anything goes' in our mix-and-match postmodern culture? Have easily recognizable, authentic subcultures imploded in a glut of ironic revivals and stylistic fragmentation? Does this supposed 'post-subcultural' generation actively celebrate ephemerality, transience and disposability, merely casting off and trying on one alternative identity after another in an ever-accelerating fashion frenzy? This exciting book is a considered sociological examination of such questions. By listening to the voices of the subcultural stylists themselves - their subjective perceptions of their style and the ideas that lie behind them - the author provides original insights into issues of subjectivity and identity. Situating an empirical case study within a wider consideration of postmodernism and cultural change, the author rejects cultural studies perspectives that attempt to 'read' subcultures as texts. Drawing on extensive interviews with people who dress in what might be deemed a stylistically unconventional manner, he seeks instead to establish whether contemporary subcultures display modern or postmodern sensibilities and forms. He argues persuasively that they do both - a stress on postmodern hyperindividualism, fluidity and fragmentation runs alongside a modernist emphasis on authenticity and underlying essence. He concludes that a Romantic libertarianism has permeated working-class culture and that the distinction between 'individualistic' middle-class countercultures and 'collectivist' working-class subcultures has been over-emphasized.

This book takes an in-depth look at the integration of fashion and philosophy. It challenges the deeply rooted prejudice or misconception that fashion is a field limited to body-oriented and appearance-related themes and practices. It also reveals that fashion is intermeshed with distinctively modern issues that belong to the realm of the mind as well as the body. In doing so, it refashions philosophy and philosophizes fashion, which ultimately amount to the same thing. The book argues that while the philosophization of fashion can give a clearer understanding of some esoteric areas of philosophy and fashion’s close connection to modern societies and politics, it also shows that philosophy can assist in redeeming fashion from the objective, bodily world, positioning it as an indispensable part of the humanities. This is because fashion manifests critical aspects of human culture in our time, and is an expression of the zeitgeist, which is interwoven with the unfolding of history. This book will be highly relevant to students and researchers in fashion studies who are looking for the theoretical underpinnings and insights for their own work. It will also be of keen interest to scholars in the field of philosophy who are seeking to apply philosophical concepts to both everyday life and our empirical world.