Twenty-first century fashion practice has become increasingly borderless and diverse in the digital era, calling into question the very boundaries that define fashion in the Western cultural context. Borderless Fashion Practice: Contemporary Fashion in the Metamodern Age principally engages the work of four fashion designers -- Virgil Abloh, Aitor Throup, Iris Van Herpen, and Eckhaus Latta -- whose work intersects with other creative disciplines such as art, technology, science, architecture, and graphic design. They do their work in what Vanessa Gerrie calls the metamodern age -- the time and place where the polarization between the modern and the postmodern collapses. Used as a framework to understand the current Western cultural zeitgeist, Gerrie's exploration of the work of contemporary practitioners and theorists finds blurred borders and seeks to blur them further, to the point of erasure.

“A funny, perceptive, and much-needed book telling a much-needed story.” —Celeste Ng, author of the New York Times bestseller Little Fires Everywhere First-generation American LatinX Liliana Cruz does what it takes to fit in at her new nearly all-white school. But when family secrets spill out and racism at school ramps up, she must decide what she believes in and take a stand. Liliana Cruz is a hitting a wall—or rather, walls. There’s the wall her mom has put up ever since Liliana’s dad left—again. There’s the wall that delineates Liliana’s diverse inner-city Boston neighborhood from Westburg, the wealthy—and white—suburban high school she’s just been accepted into. And there’s the wall Liliana creates within herself, because to survive at Westburg, she can’t just lighten up, she has to whiten up. So what if she changes her name? So what if she changes the way she talks? So what if she’s seeing her neighborhood in a different way? But then light is shed on some hard truths: It isn’t that her father doesn’t want to come home—he can’t…and her whole family is in jeopardy. And when racial tensions at school reach a fever pitch, the walls that divide feel insurmountable. But a wall isn’t always a barrier. It can be a foundation for something better. And Liliana must choose: Use this foundation as a platform to speak her truth, or risk crumbling under its weight.

Create quilts with simple designs, strong lines, and a modern aesthetic. With this innovative collection, popular blogger and designer Julie Herman, the owner of Jaybird Quilts, inspires you to create stunning quilts--without borders! Choose from 15 easy quilt patterns where design is the star and fabric is the supporting actor Learn the structure of a borderless quilt; explore various bindings and their effect on the overall look See what can be done when color is used in bold ways to support a borderless quilt design

Dia Mittal is an airline call center agent in Mumbai searching for an easier life. As her search takes her to the United States, Dia's check-ered relationship with the American Dream dialogues with the expe-riences and perspectives of a global South Asian community across the class spectrum--call center agents, travel agents, immigrant maids, fashion designers, blue- and white-collar workers in the hospitality industry, junior and senior artists in Bollywood, hustling single mothers, academics, tourists in the Third World, refugees displaced by military superpowers, Marwari merchants and trade caravans of the Silk Road, among others. What connects the novel's web of brown border-crossing characters is their quest for belonging and negotiation of power struggles, mediated by race, class, gender, nationality, age, or place. With its fragmented form, staccato rhythm, repetition, and play with English language, Border Less questions the "mainstream" Western novel and its assumptions of good storytelling. Border Less was a finalist for The Feminist Press's Louise Meriwether First Book Prize. Chapters from the novel won the Short Story Contest organized by 14th International Conference on the Short Story in English, judged by Bharati Mukherjee and Clark Blaise; the New Asian Writing Prize; and appeared in The Best Asian Short Stories anthology. The opening chapter, in a slightly different form, was published in The Kenyon Review.

Caught in the crosshairs of gang violence, a teen girl and her mother set off on a perilous journey from Guatemala City to the US border in this “engrossing” (Kirkus Reviews) young adult novel from the author of Don’t Ask Me Where I’m From. For seventeen-year-old Maya, trashion is her passion, and her talent for making clothing out of unusual objects landed her a scholarship to Guatemala City’s most prestigious design school and a finalist spot in the school’s fashion show. Mamá is her biggest supporter, taking on extra jobs to pay for what the scholarship doesn’t cover, and she might be even more excited than Maya about what the fashion show could do for her future career. So when Mamá doesn’t come to the show, Maya doesn’t know what to think. But the truth is worse than she could have imagined. The gang threats in their neighborhood have walked in their front door—with a boy Maya considered a friend, or maybe even more, among them. After barely making their escape, Maya and her mom have no choice but to continue their desperate flight all the way through Guatemala and Mexico in hopes of crossing the US border. They have to cross. They must cross! Can they?

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Untrammelled neoliberalism and the inexorable force of production have produced a 21st century crisis of community: a narcissistic cult of authenticity and mass turning-inward are among the pathologies engendered by it. We are individuals afloat in an atomised society, where the loss of the symbolic structures inherent in ritual behaviour has led to overdependence on the contingent to steer identity. Avoiding saccharine nostalgia for the rituals of the past, Han provides a genealogy of their disappearance as a means of diagnosing the pathologies of the present. He juxtaposes a community without communication – where the intensity of togetherness in silent recognition provides structure and meaning – to today’s communication without community, which does away with collective feelings and leaves individuals exposed to exploitation and manipulation by neoliberal psycho-politics. The community that is invoked everywhere today is an atrophied and commoditized community that lacks the symbolic power to bind people together. For Han, it is only the mutual praxis of recognition borne by the ritualistic sharing of the symbolic between members of a community which creates the footholds of objectivity allowing us to make sense of time. This new book by one of the most creative cultural theorists writing today will be of interest to a wide readership.