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My interests intersect with education, health and the creative industries. I'm a Senior Fellow of the Higher Education Academy, ED&I trustee and co-founder of the Muslin Trust. I have worked as a skills and sustainability consultant (UNIDO, Dhaka), leadership coach, insights and evaluation manager across the National Healthcare Service UK (NHS). I am a visiting postgraduate research supervisor and lecturer on creative industries and healthcare management programmes across the globe.<br /><div class="js-profile-less-about u-linkUnstyled u-tcGrayDarker u-textDecorationUnderline u-displayNone">less</div></div></div><div class="suggested-academics-container"><div class="suggested-academics--header"><h3 class="ds2-5-heading-sans-serif-xs">Related Authors</h3></div><ul class="suggested-user-card-list" data-nosnippet="true"><div class="suggested-user-card"><div class="suggested-user-card__avatar social-profile-avatar-container"><a data-nosnippet="" href="https://ual.academia.edu/susanpostlethwaite"><img class="profile-avatar u-positionAbsolute" alt="susan postlethwaite related author profile picture" border="0" src="//a.academia-assets.com/images/s200_no_pic.png" /></a></div><div class="suggested-user-card__user-info"><a class="suggested-user-card__user-info__header ds2-5-body-sm-bold ds2-5-body-link" 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class="profile--tab_heading_container js-section-heading" data-section="Current Projects" id="Current Projects"><h3 class="profile--tab_heading_container">Current Projects by Dr Lipi Begum</h3></div><div class="js-work-strip profile--work_container" data-work-id="39164100"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/39164100/Business_of_Fashion_Textiles_and_Technology_Mapping_the_UK_Fashion_Textiles_and_Technology_Ecosystem_Identifying_Opportunities_for_Investment_Research_and_Development_Business_Growth_Job_Creation_and_Tackling_skills_gaps"><img alt="Research paper thumbnail of Business of Fashion, Textiles & Technology: Mapping the UK Fashion, Textiles and Technology Ecosystem: Identifying Opportunities for Investment, Research and Development, Business Growth, Job Creation and Tackling skills gaps" class="work-thumbnail" src="https://attachments.academia-assets.com/68709563/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/39164100/Business_of_Fashion_Textiles_and_Technology_Mapping_the_UK_Fashion_Textiles_and_Technology_Ecosystem_Identifying_Opportunities_for_Investment_Research_and_Development_Business_Growth_Job_Creation_and_Tackling_skills_gaps">Business of Fashion, Textiles & Technology: Mapping the UK Fashion, Textiles and Technology Ecosystem: Identifying Opportunities for Investment, Research and Development, Business Growth, Job Creation and Tackling skills gaps</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This initial report, Mapping the UK Fashion, Textiles and Technology Ecosystem, aims to identify ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This initial report, Mapping the UK Fashion, Textiles and Technology Ecosystem, aims to identify opportunities for investment, research and development, business growth, job creation and tackle skills gaps in the UK fashion, textiles and technology (FTT) ecosystem.<br /><br />Based on a survey consultation that engaged over 2,400 small, medium and micro businesses (SMEs) and over 100 stakeholders and intermediaries, including industry specialists, trade bodies and workspace providers, the report is one of the most extensive baseline studies to date on FTT SMEs and the first comprehensive insight into the UK FTT ecosystem leading up to March 2020, pre-Covid-19.<br /><br />This survey has been instrumental in gaining an in-depth understanding of the polycentric nature of the sector and its geographical spread. This should strongly influence both how the sector is viewed as an economic resource of national importance and the future allocation of the R&D it needs to access in order to thrive — this research also provides initial insights for progress post-Covid.<br /><br />Fashion is estimated to contribute £35 billion to the British economy every year, while £74 billion+ is spent by UK consumers on wider apparel, clothing accessories, household textiles and carpets, accounting for 890,000 people employed across the UK, and £9 billion of export.<br /><br />The report offers recommendations for the growth of the UK FTT related economy and in particular SMEs. In the words of Professor Christopher Smith, Executive Chair of the Arts and Humanities Research Council, and Professor Andrew Chitty, Challenge Director at Creative Industries, UK Research and Innovation, joint authors of a foreward:<br /><br />The identification of opportunities for R&D programmes to support fashion’s transition to a more sustainable future provides both leadership for the sector and inspiration to others seeking a route to a more circular economy. As we build the case for long-term support for research and innovation in the Creative Industries this report shows very clearly why Fashion, Textiles and Technology must be at the heart of that mission.<br /><br />The authors of the report are:<br /><br />Professor Jane Harris, Director of the Business of Fashion, Textiles and Technology (BFTT) Creative R&D Partnership led by the University of the Arts London (UAL), and Professor of Digital Design and Innovation.<br /><br />Dr Lipi Begum, BFTT Postdoctoral Research Fellow, UAL, and Senior Lecturer in Fashion Management.<br /><br />Dr Alessandra Vecchi, BFTT Co-Investigator, UAL, and Reader in International Fashion Business Research.</span></div><div class="wp-workCard_item"><div class="carousel-container carousel-container--sm" id="profile-work-39164100-figures"><div class="prev-slide-container js-prev-button-container"><button aria-label="Previous" class="carousel-navigation-button js-profile-work-39164100-figures-prev"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">arrow_back_ios</span></button></div><div class="slides-container js-slides-container"><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/38658794/figure-19-business-of-fashion-textiles-technology-mapping"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/68709563/figure_019.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/38658600/figure-1-business-of-fashion-textiles-technology-mapping-the"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/68709563/figure_001.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/38658616/figure-2-business-of-fashion-textiles-technology-mapping-the"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/68709563/figure_002.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/38658640/figure-3-business-of-fashion-textiles-technology-mapping-the"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/68709563/figure_003.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/38658652/figure-4-business-of-fashion-textiles-technology-mapping-the"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/68709563/figure_004.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/38658669/figure-5-business-of-fashion-textiles-technology-mapping-the"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/68709563/figure_005.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/38658694/figure-6-mckinsey-company-time-for-change-how-to-use-the"><img alt="[57] McKinsey & Company, 2020, Time for Change: How to use the crisis to make fashion sourcing more agile sustainable, https://www.mckinsey.com/~/media/McKinsey/Industries/Retail/Our%20Insights/Time%20 an for%20change%20How%20to%20use%20the%20crisis%20to%20make%20fashion%20sourcing%20 more%20agile%20and%20sustainable/Time-for-change-How-to-use-the-crisis-to-make-fashion-sourcing- more-agile-and-sustainable.pdf [58] UK Fashion and Textile Association, 2020, Fashion & Textiles post Brexit, http://textilenouse.co.uk/wp-con- tent/uploads/UKFT-Brexit-Position-Paper.pdf " class="figure-slide-image" src="https://figures.academia-assets.com/68709563/figure_006.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/38658703/figure-7-business-of-fashion-textiles-technology-mapping-the"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/68709563/figure_007.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/38658714/figure-8-business-of-fashion-textiles-technology-mapping-the"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/68709563/figure_008.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/38658720/figure-9-of-descriptive-data-on-the-geographical-spread-of"><img alt="Table of descriptive data on the geographical spread of the UK FTT industry to date *Source: Office for National Statistics, 2020, Analysis showing the count, employment, employees and turnover of VAT and/or PAYE based enterprises i Regions of the United Kingdom for the Fashion and Textile Industry, Snapshot of the Inter-Departmental Business Register taken on 13 March 2020 " class="figure-slide-image" src="https://figures.academia-assets.com/68709563/figure_009.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/38658727/figure-10-business-of-fashion-textiles-technology-mapping"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/68709563/figure_010.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/38658733/figure-11-business-of-fashion-textiles-technology-mapping"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/68709563/figure_011.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/38658743/figure-4-what-is-the-annual-turnover-of-your-business"><img alt="Figure 4. What is the annual turnover of your business? " class="figure-slide-image" src="https://figures.academia-assets.com/68709563/figure_012.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/38658748/figure-6-how-long-has-your-business-been-in-operation-what"><img alt="Figure 6. How long has your business been in operation? Figure 5. What is the legal status of your business? These advantages are highlighted in the survey responses to how impor. tant location is based on the following factors (see Figure 7, page 44): quality of life for the respondent and their staff (average mean score 4.0 [out of 5.0, see footnote!**I]); quality of the infrastructure (average mean score 3.7); access to affordable workspace (average mean score 3.7); access to customers (average mean score 3.4); access to supporting organisations (average mean score 3.3); collaboration with other FTT businesses (average mean score 3.2); provides prestige to the compa- ny (average mean score 3.2); availability of skilled labour (average mean score 3.2); access to universities/colleges/training (average mean score 3.0); access to suppliers (average mean score 2.9). " class="figure-slide-image" src="https://figures.academia-assets.com/68709563/figure_013.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/38658752/figure-9-ae-ee-et-ae-ee-er-nee-de-ae-et-ye-ore-ene-nit-pk"><img alt="ae ee et ae ee er NEE De aE ET ye ORE ENE) Nit pk poe ee NN EE -3.0 to -2.1 = high threat; -2.0 to -1.1 = moderate threat; -1 to 0.0 = neutral, 0.1 to 1.0 = low opportunity, 1.1 to 2.0 = moderate opportunity, 2.1 to 5.0 = increasingly high opportunity Figure 9: Summary of Challenges and Opportunities Facing UK FTT SMEs in the Next Three to Five Years " class="figure-slide-image" src="https://figures.academia-assets.com/68709563/figure_014.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/38658759/figure-15-business-of-fashion-textiles-technology-mapping"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/68709563/figure_015.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/38658767/figure-11-how-important-are-the-following-goals-for"><img alt="Figure 11: How important are the following goals for developing your business skills capacity in the next three to five years? skills shortages are being met by technical skills shortages, for example in making and crafts skills, such as pattern cutting by hand, as well as tech- nical garment and digital technology skills. Deficits were attributed to slow adoption of industry skills training by higher education providers. There was a perception that a university education in the UK is seen as the most credible way to gain skills and employment in the sector, compared to alternative training schemes such as apprenticeships. The slow adoption of skills was also attributed to a lack of perceived interest from a younger generation in technical textiles and manufacturing careers — due partly toa decline in the UK’s manufacturing industry over the past 20 years, and, as Suzanne Jennions, co-director of Liverpool’s Fabric District!°5!, comments: " class="figure-slide-image" src="https://figures.academia-assets.com/68709563/figure_016.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/38658774/figure-17-alex-poplar-works-is-part-of-the-wider-fashion-and"><img alt="Alex: Poplar Works is part of the wider fashion and textiles ecosystem because it marries together the skills needs of an industry with the regener- ation and industrial needs of a wider area. Blossom: It connects with supporting a gap in manufacturing skills across he UK. We recognised the po get pushed out of the market i for growing networks at a loca ential for small-scale manufacturing in the UK and the potential for innovative production and cross-sector collabora- ion. We connect early-stage designers with makers who might otherwise f they haven’t got the skills required to pro- duce the orders that they need to. Poplar Works recognises this potential ised level which can, with partner support, ead to a cluster and further cross-pollination and growth of the ecosystem. " class="figure-slide-image" src="https://figures.academia-assets.com/68709563/figure_017.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/38658786/figure-18-business-of-fashion-textiles-technology-mapping"><img alt="[110] https://www.arts.ac.uk/colleges/london-college-of-fashion [111] https://fashion-enterprise.com/ The next section discusses the opportunities facing the fast-changing UK FTT sector and how SMEs can harness these. " class="figure-slide-image" src="https://figures.academia-assets.com/68709563/figure_018.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/38658797/figure-13-although-asia-and-north-america-are-considered"><img alt="Although Asia and North America are considered competitor regions, UK SMEs are confident about the innovation levels of FTT businesses in the UK and Europe. Resilience to competition is linked to the UK’s strong fashion and textiles heritage, reputation for novelty and experimen- tation, and the ability to capitalise on the main opportunity areas. Figure 13. What are the competitor regions for your business in the next three to five years? " class="figure-slide-image" src="https://figures.academia-assets.com/68709563/figure_020.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/38658811/figure-21-business-of-fashion-textiles-technology-mapping"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/68709563/figure_021.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/38658822/figure-22-business-of-fashion-textiles-technology-mapping"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/68709563/figure_022.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/38658834/figure-14-how-do-you-access-information-that-may-result-in"><img alt="Figure 14. How do you access information that may result in new ideas and innovation? " class="figure-slide-image" src="https://figures.academia-assets.com/68709563/figure_023.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/38658848/figure-24-business-of-fashion-textiles-technology-mapping"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/68709563/figure_024.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/38658857/figure-25-as-seen-in-the-rise-of-second-hand-re-selling"><img alt="flair-atelier.com Online and mobile shopping is perceived as an essential component in driving forward a circular and sustainable FTT ecosystem. Online shop- ping is an opportunity to cut back on physical resources and energy costs. Online business models are also perceived as more effective plat- forms for raising consciousness around sustainable apparel and diver- sity, as seen in the rise of second-hand re-selling platforms, and fashion and diversity awareness campaigns during the pandemic. Despite these advantages, the effect of the surge in online shopping during the pan- demic has not been scientifically measured in terms of actual impacts. Factors such as the increasing number of deliveries and returns need to be compared to the previous norms of high-street retail in relation to con- tributions to greenhouse gas emissions, plastic waste, and whether these items are ending up in landfill after a couple of wears. Marianna: At the moment, | believe customers enjoy the experience of being in a store or a mix of digital and physical shopping. From a future perspective, a digital-only service could be exciting — there would be less waste, and it would be cost-effective. | believe waste must be talked about from both sides: customers need to buy less, but businesses also need to produce less. We want more fashion businesses to adopt customisation technology. Therefore, we are in the process of experimenting and develop- ing a B2B platform, which Flair Atelier can gain additional revenue from, as well as helping the fashion industry to become more sustainable. " class="figure-slide-image" src="https://figures.academia-assets.com/68709563/figure_025.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/38658869/figure-26-the-wholesale-model-is-massively-flawed-in-terms"><img alt="‘The wholesale model is massively flawed in terms of retaining exclusivity with pressure to compete on cost. Everything becomes homogenised. It was a conscious decision to follow a business model on heritage and sus- tainability, not volume.’ Clare Campbell, founder, Prickly Thistle Scotland " class="figure-slide-image" src="https://figures.academia-assets.com/68709563/figure_026.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/38658875/figure-27-business-of-fashion-textiles-technology-mapping"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/68709563/figure_027.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/38658891/figure-28-carmen-hijosa-is-the-founder-of-ananas-anam-the"><img alt="Carmen Hijosa is the founder of Ananas Anam, the maker of Pifiatex®, an innovative natural textile made from pineapple leaf fibre. (c) Ananas Anam " class="figure-slide-image" src="https://figures.academia-assets.com/68709563/figure_028.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/38658902/table-1-global-fashion-clusters-source-adapted-from-yun-and"><img alt="Global Fashion Clusters. Source: Adapted from Yun and Lee, 2019 " class="figure-slide-image" src="https://figures.academia-assets.com/68709563/table_001.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/38658915/figure-7-how-important-is-the-location-of-your-business"><img alt="Figure 7: How Important is the location of your business based on the following factors? The need for affordable workspace has led to the growing importance of workspace providers as essential intermediaries within the FTT eco- system. Innovative workspace providers included SMEs that were able to capitalise on landlord and property developer rent subsidies under Section 106 of the Town & Country Planning Act 199071. This enables workspace providers to grow their business by attracting a broader range of SMEs through affordable rents, as well as facilitating community, business, research and experimental creative collaboration opportunities exemplified by Hajni Semsei, director of Arbeit Studios: " class="figure-slide-image" src="https://figures.academia-assets.com/68709563/table_002.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/38658923/figure-8-how-important-are-the-following-collaboration-and"><img alt="Figure 8: How important are the following collaboration and knowledge exchange opportunities for your business in the next three to five years? In terms of knowledge and network spillovers, the BFTT survey illustrates that collaboration (see Figure 8 above) with educational establishments — universities, colleges and training providers — (average mean score 3.8) is of high importance for the future of the " class="figure-slide-image" src="https://figures.academia-assets.com/68709563/table_003.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/38658937/figure-10-how-important-are-the-following-business"><img alt="Figure 10. How important are the following business development activities for your business in the next three to five years? FTT SMEs perceive current R&D funding schemes as inaccessible. The BFTT consultation shows SMEs that are successful with busi- ness and innovation grants tend to have interdisciplinary teams, with CEOs and founders who have scientific and technical back- aroiunde and aynertice For examnle they might have nrevioiiely worke: " class="figure-slide-image" src="https://figures.academia-assets.com/68709563/table_004.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/38658946/figure-12-these-growth-areas-include-investment-see-above"><img alt="These growth areas include R&D investment (See Figure 12, above) into sustainability-led activities such as fair trade (average mean score 4.4); increasing volume, scaling activities and markets (average mean score 4.2); improving manufacturing quality (average mean score 4.0); investing in marketing and showcasing (average mean score 4.0); investing in new materials and textiles (average mean score 3.8); reducing time to mar- ket (average mean score 3.5); and introducing or improving the use of Al (average mean score 3.1). These growth areas are discussed further under the four main R&D opportunities: circular and sustainable business models; buying locally made products and brands; loca- tion-based social media and marketing; and reimagining online and mobile shopping. Figure 12. How important are the following R&D goals for the growth of your business inthe next three to five years? " class="figure-slide-image" src="https://figures.academia-assets.com/68709563/table_005.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/38658969/table-6-business-of-fashion-textiles-technology-mapping-the"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/68709563/table_006.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/38658977/table-7-business-of-fashion-textiles-technology-mapping-the"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/68709563/table_007.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/38658990/table-8-business-of-fashion-textiles-technology-mapping-the"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/68709563/table_008.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/38659009/table-9-business-of-fashion-textiles-technology-mapping-the"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/68709563/table_009.jpg" width="114" height="68" /></a></figure></div><div class="next-slide-container js-next-button-container"><button aria-label="Next" class="carousel-navigation-button js-profile-work-39164100-figures-next"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">arrow_forward_ios</span></button></div></div></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="65ad9c11c557e50f109d4b6e909a5b20" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":68709563,"asset_id":39164100,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/68709563/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="39164100"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="39164100"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 39164100; 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This should strongly influence both how the sector is viewed as an economic resource of national importance and the future allocation of the R\u0026D it needs to access in order to thrive — this research also provides initial insights for progress post-Covid.\n\nFashion is estimated to contribute £35 billion to the British economy every year, while £74 billion+ is spent by UK consumers on wider apparel, clothing accessories, household textiles and carpets, accounting for 890,000 people employed across the UK, and £9 billion of export.\n\nThe report offers recommendations for the growth of the UK FTT related economy and in particular SMEs. In the words of Professor Christopher Smith, Executive Chair of the Arts and Humanities Research Council, and Professor Andrew Chitty, Challenge Director at Creative Industries, UK Research and Innovation, joint authors of a foreward:\n\nThe identification of opportunities for R\u0026D programmes to support fashion’s transition to a more sustainable future provides both leadership for the sector and inspiration to others seeking a route to a more circular economy. As we build the case for long-term support for research and innovation in the Creative Industries this report shows very clearly why Fashion, Textiles and Technology must be at the heart of that mission.\n\nThe authors of the report are:\n\nProfessor Jane Harris, Director of the Business of Fashion, Textiles and Technology (BFTT) Creative R\u0026D Partnership led by the University of the Arts London (UAL), and Professor of Digital Design and Innovation.\n\nDr Lipi Begum, BFTT Postdoctoral Research Fellow, UAL, and Senior Lecturer in Fashion Management.\n\nDr Alessandra Vecchi, BFTT Co-Investigator, UAL, and Reader in International Fashion Business Research.\n\n","publication_date":{"day":null,"month":null,"year":2021,"errors":{}}},"translated_abstract":"This initial report, Mapping the UK Fashion, Textiles and Technology Ecosystem, aims to identify opportunities for investment, research and development, business growth, job creation and tackle skills gaps in the UK fashion, textiles and technology (FTT) ecosystem.\n\nBased on a survey consultation that engaged over 2,400 small, medium and micro businesses (SMEs) and over 100 stakeholders and intermediaries, including industry specialists, trade bodies and workspace providers, the report is one of the most extensive baseline studies to date on FTT SMEs and the first comprehensive insight into the UK FTT ecosystem leading up to March 2020, pre-Covid-19.\n\nThis survey has been instrumental in gaining an in-depth understanding of the polycentric nature of the sector and its geographical spread. 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As we build the case for long-term support for research and innovation in the Creative Industries this report shows very clearly why Fashion, Textiles and Technology must be at the heart of that mission.\n\nThe authors of the report are:\n\nProfessor Jane Harris, Director of the Business of Fashion, Textiles and Technology (BFTT) Creative R\u0026D Partnership led by the University of the Arts London (UAL), and Professor of Digital Design and Innovation.\n\nDr Lipi Begum, BFTT Postdoctoral Research Fellow, UAL, and Senior Lecturer in Fashion Management.\n\nDr Alessandra Vecchi, BFTT Co-Investigator, UAL, and Reader in International Fashion Business Research.\n\n","internal_url":"https://www.academia.edu/39164100/Business_of_Fashion_Textiles_and_Technology_Mapping_the_UK_Fashion_Textiles_and_Technology_Ecosystem_Identifying_Opportunities_for_Investment_Research_and_Development_Business_Growth_Job_Creation_and_Tackling_skills_gaps","translated_internal_url":"","created_at":"2019-05-17T07:48:25.808-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":4611397,"coauthors_can_edit":true,"document_type":"other","co_author_tags":[],"downloadable_attachments":[{"id":68709563,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/68709563/thumbnails/1.jpg","file_name":"BFTT_Mapping_the_UK_Fashion_Textiles_and_Technology_Ecosystem_2021.pdf","download_url":"https://www.academia.edu/attachments/68709563/download_file","bulk_download_file_name":"Business_of_Fashion_Textiles_and_Technol.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/68709563/BFTT_Mapping_the_UK_Fashion_Textiles_and_Technology_Ecosystem_2021-libre.pdf?1628773232=\u0026response-content-disposition=attachment%3B+filename%3DBusiness_of_Fashion_Textiles_and_Technol.pdf\u0026Expires=1744367270\u0026Signature=G7GQGuHxo4J630vVFqhsj3aQ2j4PoK6ekoRnN6l3HTjxJSqX77--g~hj~5uzZCr6f9qq~R7s00KLk6n6T6XOwGn148APpZn~k25AwaKFYZDcyO26daXfqrSSu26a0pJBaVcMTZB-9eerNgVuYegyKxDDCuJGgn19v~7vxERGWEJ64PtAWxG4K4ohCOFTxQNflwRC4496yJxVl7D3CwcoGqvzR7OQR~OnCwH-q7TVXKkcXaHFsbObw4dT~cvcamYKqAtQjJ-CWYQOSinh-H42q8KLaujdiBO1C2xtzShncYpSTMl22pWneguO-G3YPMOWMR1T4d5q0FcBm0oJio5HUg__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Business_of_Fashion_Textiles_and_Technology_Mapping_the_UK_Fashion_Textiles_and_Technology_Ecosystem_Identifying_Opportunities_for_Investment_Research_and_Development_Business_Growth_Job_Creation_and_Tackling_skills_gaps","translated_slug":"","page_count":94,"language":"en","content_type":"Work","summary":"This initial report, Mapping the UK Fashion, Textiles and Technology Ecosystem, aims to identify opportunities for investment, research and development, business growth, job creation and tackle skills gaps in the UK fashion, textiles and technology (FTT) ecosystem.\n\nBased on a survey consultation that engaged over 2,400 small, medium and micro businesses (SMEs) and over 100 stakeholders and intermediaries, including industry specialists, trade bodies and workspace providers, the report is one of the most extensive baseline studies to date on FTT SMEs and the first comprehensive insight into the UK FTT ecosystem leading up to March 2020, pre-Covid-19.\n\nThis survey has been instrumental in gaining an in-depth understanding of the polycentric nature of the sector and its geographical spread. This should strongly influence both how the sector is viewed as an economic resource of national importance and the future allocation of the R\u0026D it needs to access in order to thrive — this research also provides initial insights for progress post-Covid.\n\nFashion is estimated to contribute £35 billion to the British economy every year, while £74 billion+ is spent by UK consumers on wider apparel, clothing accessories, household textiles and carpets, accounting for 890,000 people employed across the UK, and £9 billion of export.\n\nThe report offers recommendations for the growth of the UK FTT related economy and in particular SMEs. 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As we build the case for long-term support for research and innovation in the Creative Industries this report shows very clearly why Fashion, Textiles and Technology must be at the heart of that mission.\n\nThe authors of the report are:\n\nProfessor Jane Harris, Director of the Business of Fashion, Textiles and Technology (BFTT) Creative R\u0026D Partnership led by the University of the Arts London (UAL), and Professor of Digital Design and Innovation.\n\nDr Lipi Begum, BFTT Postdoctoral Research Fellow, UAL, and Senior Lecturer in Fashion Management.\n\nDr Alessandra Vecchi, BFTT Co-Investigator, UAL, and Reader in International Fashion Business Research.\n\n","impression_tracking_id":null,"owner":{"id":4611397,"first_name":"Dr Lipi","middle_initials":null,"last_name":"Begum","page_name":"DrLipiBegum","domain_name":"ucl","created_at":"2013-06-20T23:28:17.040-07:00","display_name":"Dr Lipi Begum","url":"https://ucl.academia.edu/DrLipiBegum"},"attachments":[{"id":68709563,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/68709563/thumbnails/1.jpg","file_name":"BFTT_Mapping_the_UK_Fashion_Textiles_and_Technology_Ecosystem_2021.pdf","download_url":"https://www.academia.edu/attachments/68709563/download_file","bulk_download_file_name":"Business_of_Fashion_Textiles_and_Technol.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/68709563/BFTT_Mapping_the_UK_Fashion_Textiles_and_Technology_Ecosystem_2021-libre.pdf?1628773232=\u0026response-content-disposition=attachment%3B+filename%3DBusiness_of_Fashion_Textiles_and_Technol.pdf\u0026Expires=1744367270\u0026Signature=G7GQGuHxo4J630vVFqhsj3aQ2j4PoK6ekoRnN6l3HTjxJSqX77--g~hj~5uzZCr6f9qq~R7s00KLk6n6T6XOwGn148APpZn~k25AwaKFYZDcyO26daXfqrSSu26a0pJBaVcMTZB-9eerNgVuYegyKxDDCuJGgn19v~7vxERGWEJ64PtAWxG4K4ohCOFTxQNflwRC4496yJxVl7D3CwcoGqvzR7OQR~OnCwH-q7TVXKkcXaHFsbObw4dT~cvcamYKqAtQjJ-CWYQOSinh-H42q8KLaujdiBO1C2xtzShncYpSTMl22pWneguO-G3YPMOWMR1T4d5q0FcBm0oJio5HUg__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":11344,"name":"Creative Industries","url":"https://www.academia.edu/Documents/in/Creative_Industries"},{"id":27694,"name":"Small \u0026 Micro Business Growth","url":"https://www.academia.edu/Documents/in/Small_and_Micro_Business_Growth"},{"id":43954,"name":"Textile Technology","url":"https://www.academia.edu/Documents/in/Textile_Technology"},{"id":186597,"name":"Digital Textile and Fashion Design Technologies","url":"https://www.academia.edu/Documents/in/Digital_Textile_and_Fashion_Design_Technologies"},{"id":358378,"name":"Fashion Business","url":"https://www.academia.edu/Documents/in/Fashion_Business"},{"id":435292,"name":"Creative Clusters","url":"https://www.academia.edu/Documents/in/Creative_Clusters"},{"id":1703716,"name":"Fashion Technology","url":"https://www.academia.edu/Documents/in/Fashion_Technology"}],"urls":[{"id":8773447,"url":"http://creativeindustriesclusters.com/"},{"id":10717325,"url":"https://bftt.org.uk/challenges/challenge-1/"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (true) { Aedu.setUpFigureCarousel('profile-work-39164100-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="41502094"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/41502094/Co_Founder_and_Trustee_Muslin_Trust"><img alt="Research paper thumbnail of Co-Founder and Trustee: Muslin Trust" class="work-thumbnail" src="https://attachments.academia-assets.com/61679150/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/41502094/Co_Founder_and_Trustee_Muslin_Trust">Co-Founder and Trustee: Muslin Trust</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The Muslin Trust is a not-for profit registered charity whose purpose is to: Uplift, sustain, dev...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The Muslin Trust is a not-for profit registered charity whose purpose is to: Uplift, sustain, develop and preserve the traditional skills and art forms of weaving in Bangladesh. Create international awareness of the textiles and fabrics of Bangladesh. Create awareness of the art in as a fashion textile, and in so doing, create strategic partnerships and alliances with interested stakeholders to achieve our mutual objectives. The Muslin Trust is managed by a group of volunteer trustees.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="76e0118b77d66b51a64ce965c0ae412f" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":61679150,"asset_id":41502094,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/61679150/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="41502094"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="41502094"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 41502094; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=41502094]").text(description); $(".js-view-count[data-work-id=41502094]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 41502094; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='41502094']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "76e0118b77d66b51a64ce965c0ae412f" } } $('.js-work-strip[data-work-id=41502094]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":41502094,"title":"Co-Founder and Trustee: Muslin Trust","translated_title":"","metadata":{"abstract":"The Muslin Trust is a not-for profit registered charity whose purpose is to: Uplift, sustain, develop and preserve the traditional skills and art forms of weaving in Bangladesh. 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Afghanistan, Bangladesh, Bhutan, India, Maldives, Nepal, Pakistan and Sri Lanka have all been producing a market of confident young fashion consumers.<br />This book explores South Asian youth cultures and fashion across this region and its diasporas from a transnational perspective, revealing the changing landscapes of contemporary South Asian fashion.<br />Through visual and textual analysis of film, photography and digital cultures, as well as ethnographic fieldwork, the book looks at how gender, sexuality, class, the media and faith intersect. It challenges tendencies to homogenise the region's diverse cultural modernity by establishing the heterogenous nature of South Asia and its youth cultures.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="060f6e2176dfe8663a699ef667f22bd2" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":57084100,"asset_id":37133546,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/57084100/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="37133546"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="37133546"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 37133546; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=37133546]").text(description); $(".js-view-count[data-work-id=37133546]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 37133546; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='37133546']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "060f6e2176dfe8663a699ef667f22bd2" } } $('.js-work-strip[data-work-id=37133546]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":37133546,"title":"Styling South Asian Youth Cultures: Fashion, Media and Society","translated_title":"","metadata":{"abstract":"For South Asia, fashion and consumption have come to play an increasingly important role in the lives of young people and in the formation of youth cultures. 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Tauris","ai_title_tag":"South Asian Youth: Fashion and Identity","publication_date":{"day":null,"month":null,"year":2018,"errors":{}}},"translated_abstract":"For South Asia, fashion and consumption have come to play an increasingly important role in the lives of young people and in the formation of youth cultures. Afghanistan, Bangladesh, Bhutan, India, Maldives, Nepal, Pakistan and Sri Lanka have all been producing a market of confident young fashion consumers.\nThis book explores South Asian youth cultures and fashion across this region and its diasporas from a transnational perspective, revealing the changing landscapes of contemporary South Asian fashion.\nThrough visual and textual analysis of film, photography and digital cultures, as well as ethnographic fieldwork, the book looks at how gender, sexuality, class, the media and faith intersect. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-37133546-figures'); } }); </script> <div class="profile--tab_heading_container js-section-heading" data-section="Book Chapters" id="Book Chapters"><h3 class="profile--tab_heading_container">Book Chapters by Dr Lipi Begum</h3></div><div class="js-work-strip profile--work_container" data-work-id="42168826"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/42168826/Chapter_2_Beyond_the_creative_class_mapping_the_collaborative_economy_of_Bangladeshi_creative_industries_Case_study_of_Oitij_jo"><img alt="Research paper thumbnail of Chapter 2: Beyond the creative class, mapping the collaborative economy of Bangladeshi creative industries: Case study of Oitij-jo." class="work-thumbnail" src="https://attachments.academia-assets.com/64228012/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/42168826/Chapter_2_Beyond_the_creative_class_mapping_the_collaborative_economy_of_Bangladeshi_creative_industries_Case_study_of_Oitij_jo">Chapter 2: Beyond the creative class, mapping the collaborative economy of Bangladeshi creative industries: Case study of Oitij-jo.</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://ucl.academia.edu/DrLipiBegum">Dr Lipi Begum</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://independent.academia.edu/maheranjum">maher anjum</a></span></div><div class="wp-workCard_item"><span>South Asian Creative and Cultural Industries</span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">It is widely acknowledged that creativity is emerging as one of the most important sources of eco...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">It is widely acknowledged that creativity is emerging as one of the most important sources of economic growth. This book investigates the varied forms of the creative and cultural industries including the arts, culture, film, design and other related fields.<br /><br />In this book, the chapters showcase new research insights into the recent growth of the creative and cultural industries, which can be located across the intersection of the arts and humanities, business studies and social science disciplines. The contributors provide rich empirical insights about the creative and cultural industries of, related to and connected with South Asia, both from across its diasporas and from around the world. This includes a variety of illustrative examples of creativity from the Bollywood film industry, to the growth of the creative sector in countries like the UK, India and Bangladesh, making the book an engaging read for anyone who is interested to learn more.<br /><br />Using contemporary and fresh examples from South Asia and its diasporas, South Asian Creative and Cultural Industries offers new research perspectives on a growing and important region of the world. This book was originally published as a special issue of the South Asian Popular Culture journal.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="00c5c912d64ad19595e0dc95be5981d3" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":64228012,"asset_id":42168826,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/64228012/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="42168826"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="42168826"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 42168826; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=42168826]").text(description); $(".js-view-count[data-work-id=42168826]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 42168826; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='42168826']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "00c5c912d64ad19595e0dc95be5981d3" } } $('.js-work-strip[data-work-id=42168826]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":42168826,"title":"Chapter 2: Beyond the creative class, mapping the collaborative economy of Bangladeshi creative industries: Case study of Oitij-jo.","translated_title":"","metadata":{"doi":"10.1080/14746689.2017.1294802","volume":"1","abstract":"It is widely acknowledged that creativity is emerging as one of the most important sources of economic growth. 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The chapter includes an outline of the articles in the book and how they contribute to the emerging field of South Asian dress cultures. Paperback, Ebook and Hardback available to order at: <a href="https://www.bloomsbury.com/uk/styling-south-asian-youth-cultures-9781350154070/" rel="nofollow">https://www.bloomsbury.com/uk/styling-south-asian-youth-cultures-9781350154070/</a></span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="39252059"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="39252059"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 39252059; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=39252059]").text(description); $(".js-view-count[data-work-id=39252059]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 39252059; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='39252059']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=39252059]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":39252059,"title":"Style, Fashion and Media in South Asian Youth Cultures","translated_title":"","metadata":{"abstract":"An extended essay discussing the field of style, fashion and media in contemporary South Asian youth cultures. 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London: I.B. Tauris</span><span>, 2018</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="886668de70531d00b4c15f54e2dbb5ba" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":57192787,"asset_id":33881961,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/57192787/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="33881961"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="33881961"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 33881961; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=33881961]").text(description); $(".js-view-count[data-work-id=33881961]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 33881961; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='33881961']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "886668de70531d00b4c15f54e2dbb5ba" } } $('.js-work-strip[data-work-id=33881961]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":33881961,"title":"Bras are not for Burning: the Bra and Young Urban Women in Delhi and Bombay","translated_title":"","metadata":{"ai_abstract":"This book examines the evolving roles of fashion and consumption among young people in South Asia, focusing on how these elements contribute to the formation of diverse youth cultures in countries like India, Bangladesh, and Pakistan. 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Tauris"},"translated_abstract":null,"internal_url":"https://www.academia.edu/33881961/Bras_are_not_for_Burning_the_Bra_and_Young_Urban_Women_in_Delhi_and_Bombay","translated_internal_url":"","created_at":"2017-07-14T04:43:22.142-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":4611397,"coauthors_can_edit":true,"document_type":"other","co_author_tags":[],"downloadable_attachments":[{"id":57192787,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/57192787/thumbnails/1.jpg","file_name":"Styling_South_Asia_PPC_AW.pdf","download_url":"https://www.academia.edu/attachments/57192787/download_file","bulk_download_file_name":"Bras_are_not_for_Burning_the_Bra_and_You.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/57192787/Styling_South_Asia_PPC_AW-libre.pdf?1534343967=\u0026response-content-disposition=attachment%3B+filename%3DBras_are_not_for_Burning_the_Bra_and_You.pdf\u0026Expires=1744338539\u0026Signature=YfG06tWMXwKUd0OTe1wWHlv0AE2no6cvzu8qM-PRm-6MOT9TRHI7NWgpQnkNCHYJQEerr0N-DET7CNAcwnK9-xJQSk3U07As~GZfFxAnUOKAsgK7tvE8AnLeNeu7t5oryDT8MQSBqBbL6UkB8a4B2nDt302T6vRloSVJ2tTBkBtdMcNjJjssBN9jGUAt7iKn1KiuMpXZ-1HatEj1~F0JUpIuYSox-uJICO7LkyLxt4XvIav4PvTF7CpDst8nNsFgvDJ4kc1SljLhACjQed3uBzVm3mfZAFzNX6G9TmNQYw~FNK~Z~fRYzgDiCMXIAH6ek0DceXiILcp0M1RjJA9zlg__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Bras_are_not_for_Burning_the_Bra_and_Young_Urban_Women_in_Delhi_and_Bombay","translated_slug":"","page_count":1,"language":"en","content_type":"Work","summary":null,"impression_tracking_id":null,"owner":{"id":4611397,"first_name":"Dr Lipi","middle_initials":null,"last_name":"Begum","page_name":"DrLipiBegum","domain_name":"ucl","created_at":"2013-06-20T23:28:17.040-07:00","display_name":"Dr Lipi Begum","url":"https://ucl.academia.edu/DrLipiBegum"},"attachments":[{"id":57192787,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/57192787/thumbnails/1.jpg","file_name":"Styling_South_Asia_PPC_AW.pdf","download_url":"https://www.academia.edu/attachments/57192787/download_file","bulk_download_file_name":"Bras_are_not_for_Burning_the_Bra_and_You.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/57192787/Styling_South_Asia_PPC_AW-libre.pdf?1534343967=\u0026response-content-disposition=attachment%3B+filename%3DBras_are_not_for_Burning_the_Bra_and_You.pdf\u0026Expires=1744338539\u0026Signature=YfG06tWMXwKUd0OTe1wWHlv0AE2no6cvzu8qM-PRm-6MOT9TRHI7NWgpQnkNCHYJQEerr0N-DET7CNAcwnK9-xJQSk3U07As~GZfFxAnUOKAsgK7tvE8AnLeNeu7t5oryDT8MQSBqBbL6UkB8a4B2nDt302T6vRloSVJ2tTBkBtdMcNjJjssBN9jGUAt7iKn1KiuMpXZ-1HatEj1~F0JUpIuYSox-uJICO7LkyLxt4XvIav4PvTF7CpDst8nNsFgvDJ4kc1SljLhACjQed3uBzVm3mfZAFzNX6G9TmNQYw~FNK~Z~fRYzgDiCMXIAH6ek0DceXiILcp0M1RjJA9zlg__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":1433,"name":"Fashion Theory","url":"https://www.academia.edu/Documents/in/Fashion_Theory"},{"id":43838,"name":"India","url":"https://www.academia.edu/Documents/in/India"},{"id":126819,"name":"Fashion and Politics","url":"https://www.academia.edu/Documents/in/Fashion_and_Politics"},{"id":385830,"name":"Lingerie","url":"https://www.academia.edu/Documents/in/Lingerie"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-33881961-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="28645820"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/28645820/Friendship_Networks_as_a_Mode_of_Survival_and_Activism_in_the_Bangladesh_Ready_Made_Garment_Sector"><img alt="Research paper thumbnail of Friendship Networks as a Mode of Survival and Activism in the Bangladesh Ready-Made-Garment Sector" class="work-thumbnail" src="https://attachments.academia-assets.com/57192721/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/28645820/Friendship_Networks_as_a_Mode_of_Survival_and_Activism_in_the_Bangladesh_Ready_Made_Garment_Sector">Friendship Networks as a Mode of Survival and Activism in the Bangladesh Ready-Made-Garment Sector</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://ucl.academia.edu/DrLipiBegum">Dr Lipi Begum</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://independent.academia.edu/maheranjum">maher anjum</a></span></div><div class="wp-workCard_item"><span>Friendship as Social Justice Activism, Critical Solidarities in a Global Perspective</span><span>, 2018</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Chapter Nineteen in: Friendship as Social Justice Activism, Critical Solidarities in a Global Per...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Chapter Nineteen in: Friendship as Social Justice Activism, Critical Solidarities in a Global Perspective (2018). University of Chicago Press/Seagull India. <br /> <br />Through in-depth interviews, this conversational essay documents the unique stories of Alia, Mussamat, Jessmin, three garment factory workers and members of the National Federation of Garment Workers (NFGW) in Dhaka, Bangladesh. These individuals share their anecdotal journeys of friendship and engagement with social change to make the ready-made-garment sector in Bangladesh sustainable in the aftermath of the Rana Plaza (April 2013) and Tazreen (November 2012) Ltd factory disasters. Through stories of friendship networks and resilience, this piece draws attention to the paradox of how the ready-made-garment sector in Bangladesh empowers workers as they speak up against global market forces of uncertain work conditions and low paid production to make it a safer, sustainable and fairer place to work. <br /> <br />This anthology is the first of its kind in bringing together academics and activists in conversations about friendship, love and desire as kinetics for social justice movements. The contributors come from across the globe and are involved in diverse movements such as LGBTQ rights; intimate-partner violence; recovery from addiction; and housing, migrant, labour and environmental justice activism. Each narrates how living and organizing within circles of friendship offer new ways of dreaming and struggling for social justice. Recent scholarship in different disciplinary fields as well as activist literature have brought attention to the political possibilities within friendship. <br /> <br />The essays, memoirs, poems and artwork in this volume address these political possibilities within the context of gender, sexuality and economic justice movements - Sunandini Banerjee</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="a14f392cdc5efd7c5cc4ae2f32ea7bc6" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":57192721,"asset_id":28645820,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/57192721/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="28645820"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="28645820"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 28645820; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=28645820]").text(description); $(".js-view-count[data-work-id=28645820]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 28645820; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='28645820']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "a14f392cdc5efd7c5cc4ae2f32ea7bc6" } } $('.js-work-strip[data-work-id=28645820]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":28645820,"title":"Friendship Networks as a Mode of Survival and Activism in the Bangladesh Ready-Made-Garment Sector","translated_title":"","metadata":{"abstract":"Chapter Nineteen in: Friendship as Social Justice Activism, Critical Solidarities in a Global Perspective (2018). University of Chicago Press/Seagull India.\r\n\r\nThrough in-depth interviews, this conversational essay documents the unique stories of Alia, Mussamat, Jessmin, three garment factory workers and members of the National Federation of Garment Workers (NFGW) in Dhaka, Bangladesh. These individuals share their anecdotal journeys of friendship and engagement with social change to make the ready-made-garment sector in Bangladesh sustainable in the aftermath of the Rana Plaza (April 2013) and Tazreen (November 2012) Ltd factory disasters. 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These individuals share their anecdotal journeys of friendship and engagement with social change to make the ready-made-garment sector in Bangladesh sustainable in the aftermath of the Rana Plaza (April 2013) and Tazreen (November 2012) Ltd factory disasters. Through stories of friendship networks and resilience, this piece draws attention to the paradox of how the ready-made-garment sector in Bangladesh empowers workers as they speak up against global market forces of uncertain work conditions and low paid production to make it a safer, sustainable and fairer place to work.\r\n\r\nThis anthology is the first of its kind in bringing together academics and activists in conversations about friendship, love and desire as kinetics for social justice movements. The contributors come from across the globe and are involved in diverse movements such as LGBTQ rights; intimate-partner violence; recovery from addiction; and housing, migrant, labour and environmental justice activism. 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Recent scholarship in different disciplinary fields as well as activist literature have brought attention to the political possibilities within friendship. \r\n\r\nThe essays, memoirs, poems and artwork in this volume address these political possibilities within the context of gender, sexuality and economic justice movements - Sunandini Banerjee","internal_url":"https://www.academia.edu/28645820/Friendship_Networks_as_a_Mode_of_Survival_and_Activism_in_the_Bangladesh_Ready_Made_Garment_Sector","translated_internal_url":"","created_at":"2016-09-21T09:33:08.623-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":4611397,"coauthors_can_edit":true,"document_type":"book","co_author_tags":[{"id":29718391,"work_id":28645820,"tagging_user_id":4611397,"tagged_user_id":42227233,"co_author_invite_id":null,"email":"m***1@googlemail.com","display_order":0,"name":"maher anjum","title":"Friendship Networks as a Mode of Survival and Activism in the Bangladesh Ready-Made-Garment Sector"}],"downloadable_attachments":[{"id":57192721,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/57192721/thumbnails/1.jpg","file_name":"Friendship_Chapter_Final_2017.18.pdf","download_url":"https://www.academia.edu/attachments/57192721/download_file","bulk_download_file_name":"Friendship_Networks_as_a_Mode_of_Surviva.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/57192721/Friendship_Chapter_Final_2017.18-libre.pdf?1534343233=\u0026response-content-disposition=attachment%3B+filename%3DFriendship_Networks_as_a_Mode_of_Surviva.pdf\u0026Expires=1744332182\u0026Signature=e6ncHogR6yUkVtBeTJw5GG9EVto7nylNvlCRe0oCz-mosymHQJDuotPoCxBdmNo6y6OE3dhb2193y5Dsu4ClN8ryFtCfOYYRa4UFXV~KOnPXyyoJU1Bz-9km2JA-XqYiL1T3jHxzJegrhdQIR9jdmLcCi-ODdLhbtrwSkuX-FUD9lWviRTNqG8PyWMAXQWlQsCj-76NSI2jkoqmnJxyIZt-AJ-bJ1OR7Da3hZb4Mcet8KuX-kFkwbYYRzDEHDjjpOrRDysNHQUTNnp~VfoK50S5cIYeRz-lcQZewBb4VsU8KC4PTK0sKhOPCfsf~MNO13wKo3Q~VnSR-DrA28n3pgA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Friendship_Networks_as_a_Mode_of_Survival_and_Activism_in_the_Bangladesh_Ready_Made_Garment_Sector","translated_slug":"","page_count":13,"language":"en","content_type":"Work","summary":"Chapter Nineteen in: Friendship as Social Justice Activism, Critical Solidarities in a Global Perspective (2018). 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Through stories of friendship networks and resilience, this piece draws attention to the paradox of how the ready-made-garment sector in Bangladesh empowers workers as they speak up against global market forces of uncertain work conditions and low paid production to make it a safer, sustainable and fairer place to work.\r\n\r\nThis anthology is the first of its kind in bringing together academics and activists in conversations about friendship, love and desire as kinetics for social justice movements. The contributors come from across the globe and are involved in diverse movements such as LGBTQ rights; intimate-partner violence; recovery from addiction; and housing, migrant, labour and environmental justice activism. Each narrates how living and organizing within circles of friendship offer new ways of dreaming and struggling for social justice. Recent scholarship in different disciplinary fields as well as activist literature have brought attention to the political possibilities within friendship. \r\n\r\nThe essays, memoirs, poems and artwork in this volume address these political possibilities within the context of gender, sexuality and economic justice movements - Sunandini Banerjee","impression_tracking_id":null,"owner":{"id":4611397,"first_name":"Dr Lipi","middle_initials":null,"last_name":"Begum","page_name":"DrLipiBegum","domain_name":"ucl","created_at":"2013-06-20T23:28:17.040-07:00","display_name":"Dr Lipi Begum","url":"https://ucl.academia.edu/DrLipiBegum"},"attachments":[{"id":57192721,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/57192721/thumbnails/1.jpg","file_name":"Friendship_Chapter_Final_2017.18.pdf","download_url":"https://www.academia.edu/attachments/57192721/download_file","bulk_download_file_name":"Friendship_Networks_as_a_Mode_of_Surviva.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/57192721/Friendship_Chapter_Final_2017.18-libre.pdf?1534343233=\u0026response-content-disposition=attachment%3B+filename%3DFriendship_Networks_as_a_Mode_of_Surviva.pdf\u0026Expires=1744332182\u0026Signature=e6ncHogR6yUkVtBeTJw5GG9EVto7nylNvlCRe0oCz-mosymHQJDuotPoCxBdmNo6y6OE3dhb2193y5Dsu4ClN8ryFtCfOYYRa4UFXV~KOnPXyyoJU1Bz-9km2JA-XqYiL1T3jHxzJegrhdQIR9jdmLcCi-ODdLhbtrwSkuX-FUD9lWviRTNqG8PyWMAXQWlQsCj-76NSI2jkoqmnJxyIZt-AJ-bJ1OR7Da3hZb4Mcet8KuX-kFkwbYYRzDEHDjjpOrRDysNHQUTNnp~VfoK50S5cIYeRz-lcQZewBb4VsU8KC4PTK0sKhOPCfsf~MNO13wKo3Q~VnSR-DrA28n3pgA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-28645820-figures'); } }); </script> <div class="profile--tab_heading_container js-section-heading" data-section="Articles/Papers" id="Articles/Papers"><h3 class="profile--tab_heading_container">Articles/Papers by Dr Lipi Begum</h3></div><div class="js-work-strip profile--work_container" data-work-id="39733335"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/39733335/Crossing_Boundaries_Bras_Lingerie_and_Rape_Myths_in_Postcolonial_Urban_Middle_class_India"><img alt="Research paper thumbnail of Crossing Boundaries: Bras, Lingerie and Rape Myths in Postcolonial Urban Middle-class India" class="work-thumbnail" src="https://attachments.academia-assets.com/59911411/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/39733335/Crossing_Boundaries_Bras_Lingerie_and_Rape_Myths_in_Postcolonial_Urban_Middle_class_India">Crossing Boundaries: Bras, Lingerie and Rape Myths in Postcolonial Urban Middle-class India</a></div><div class="wp-workCard_item"><span>Gender, Place & Culture A Journal of Feminist Geography </span><span>, 2019</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">With the processes of modernization, urbanization and the entry of women in the formal labour mar...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">With the processes of modernization, urbanization and the<br />entry of women in the formal labour market in Indian<br />metropolitan spaces, this article examines how the modern<br />middle-class woman’s sartorial choices become enmeshed<br />in popular rape myths (false beliefs) that serve to blame<br />her for the wearing of western clothing. The article articulates the ways in which middle-class women’s social realities are shaped by historical, colonial and nationalist<br />ideologies of modernization, constructed and mediated<br />through moral codes of dressing. By drawing upon original<br />and contemporary empirical narratives from the urban<br />spaces of Delhi and Mumbai, we emphasise how everyday<br />sartorial choices, in relation to particularly the bra and lingerie, can reveal the nuanced ways in which Urban Indian<br />Professional Women (UIPW) seek to understand, negotiate,<br />and resist patriarchal power. Our findings shed light on<br />conflicting and contradictory spatial experiences, where<br />some women internalize and negotiate moral codes of<br />dressing, out of fear, and others who transgress are subject<br />to sanctions. Given the paucity of scholarly literature in this<br />area, the article makes an important theoretical and empirical contribution with its focus on postcoloniality and everyday discursive material spaces of gendered and sexualized dress practices. It argues for the consciousness raising of everyday urban geographies of dress that reveal complicated structures of power that are often deemed hidden.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="166b9ada3357b7dc7f58d43d54d77933" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":59911411,"asset_id":39733335,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/59911411/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="39733335"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="39733335"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 39733335; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=39733335]").text(description); $(".js-view-count[data-work-id=39733335]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 39733335; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='39733335']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "166b9ada3357b7dc7f58d43d54d77933" } } $('.js-work-strip[data-work-id=39733335]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":39733335,"title":"Crossing Boundaries: Bras, Lingerie and Rape Myths in Postcolonial Urban Middle-class India","translated_title":"","metadata":{"doi":"10.1080/0966369X.2019.1567470","abstract":"With the processes of modernization, urbanization and the\nentry of women in the formal labour market in Indian\nmetropolitan spaces, this article examines how the modern\nmiddle-class woman’s sartorial choices become enmeshed\nin popular rape myths (false beliefs) that serve to blame\nher for the wearing of western clothing. The article articulates the ways in which middle-class women’s social realities are shaped by historical, colonial and nationalist\nideologies of modernization, constructed and mediated\nthrough moral codes of dressing. By drawing upon original\nand contemporary empirical narratives from the urban\nspaces of Delhi and Mumbai, we emphasise how everyday\nsartorial choices, in relation to particularly the bra and lingerie, can reveal the nuanced ways in which Urban Indian\nProfessional Women (UIPW) seek to understand, negotiate,\nand resist patriarchal power. Our findings shed light on\nconflicting and contradictory spatial experiences, where\nsome women internalize and negotiate moral codes of\ndressing, out of fear, and others who transgress are subject\nto sanctions. Given the paucity of scholarly literature in this\narea, the article makes an important theoretical and empirical contribution with its focus on postcoloniality and everyday discursive material spaces of gendered and sexualized dress practices. It argues for the consciousness raising of everyday urban geographies of dress that reveal complicated structures of power that are often deemed hidden.","ai_title_tag":"Rape Myths and Dress Choices of Urban Indian Women","publication_date":{"day":null,"month":null,"year":2019,"errors":{}},"publication_name":"Gender, Place \u0026 Culture A Journal of Feminist Geography "},"translated_abstract":"With the processes of modernization, urbanization and the\nentry of women in the formal labour market in Indian\nmetropolitan spaces, this article examines how the modern\nmiddle-class woman’s sartorial choices become enmeshed\nin popular rape myths (false beliefs) that serve to blame\nher for the wearing of western clothing. The article articulates the ways in which middle-class women’s social realities are shaped by historical, colonial and nationalist\nideologies of modernization, constructed and mediated\nthrough moral codes of dressing. By drawing upon original\nand contemporary empirical narratives from the urban\nspaces of Delhi and Mumbai, we emphasise how everyday\nsartorial choices, in relation to particularly the bra and lingerie, can reveal the nuanced ways in which Urban Indian\nProfessional Women (UIPW) seek to understand, negotiate,\nand resist patriarchal power. Our findings shed light on\nconflicting and contradictory spatial experiences, where\nsome women internalize and negotiate moral codes of\ndressing, out of fear, and others who transgress are subject\nto sanctions. 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It argues for the consciousness raising of everyday urban geographies of dress that reveal complicated structures of power that are often deemed hidden.","internal_url":"https://www.academia.edu/39733335/Crossing_Boundaries_Bras_Lingerie_and_Rape_Myths_in_Postcolonial_Urban_Middle_class_India","translated_internal_url":"","created_at":"2019-07-02T01:27:54.312-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":4611397,"coauthors_can_edit":true,"document_type":"other","co_author_tags":[{"id":32780053,"work_id":39733335,"tagging_user_id":4611397,"tagged_user_id":93714,"co_author_invite_id":null,"email":"r***n@rhul.ac.uk","affiliation":"Royal Holloway, University of London","display_order":1,"name":"Ravinder Barn","title":"Crossing Boundaries: Bras, Lingerie and Rape Myths in Postcolonial Urban Middle-class India"}],"downloadable_attachments":[{"id":59911411,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/59911411/thumbnails/1.jpg","file_name":"Preprint_version_GPC_LB_1920190702-5756-11a7jp4.pdf","download_url":"https://www.academia.edu/attachments/59911411/download_file","bulk_download_file_name":"Crossing_Boundaries_Bras_Lingerie_and_Ra.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/59911411/Preprint_version_GPC_LB_1920190702-5756-11a7jp4-libre.pdf?1562057476=\u0026response-content-disposition=attachment%3B+filename%3DCrossing_Boundaries_Bras_Lingerie_and_Ra.pdf\u0026Expires=1744338539\u0026Signature=ZeisM1wQnTD8vW20pE48cSB-9n2JNbTWpXIJt1HEXnhjM7PudaseSzSO~2Dm6cBBpQ2Hxk~oc9o9bhJaNHvltba14jjzuLq9MjIcioy-ocZK9~YI5bGGz6zWynr~dUtJAdYk7AJz1HRVSnxhLnDL2SOqK8mQdZVeikP6FgTvr5~rqBXLeWCZTK5SrThUgse9-fIxNZ3swCb83ZbdUP3vVVGJ3q0huM8N-6GmzCwgFMDuFgbDfW9tYUxoPOANY4CIxh34oToW-0W3HXfIE5pmQfYEMiQFmF5kD8a9varDZFT3TfYddt5QnxNGnranq~5RV0Kr13rb961aXsbd801adA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Crossing_Boundaries_Bras_Lingerie_and_Rape_Myths_in_Postcolonial_Urban_Middle_class_India","translated_slug":"","page_count":23,"language":"en","content_type":"Work","summary":"With the processes of modernization, urbanization and the\nentry of women in the formal labour market in Indian\nmetropolitan spaces, this article examines how the modern\nmiddle-class woman’s sartorial choices become enmeshed\nin popular rape myths (false beliefs) that serve to blame\nher for the wearing of western clothing. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-39733335-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="39347210"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/39347210/Special_Section_South_Asian_Fashion_Introduction_Continuing_the_Dialogue_on_South_Asian_Fashion_Studies"><img alt="Research paper thumbnail of Special Section: South Asian Fashion Introduction: Continuing the Dialogue on South Asian Fashion Studies" class="work-thumbnail" src="https://attachments.academia-assets.com/59488277/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/39347210/Special_Section_South_Asian_Fashion_Introduction_Continuing_the_Dialogue_on_South_Asian_Fashion_Studies">Special Section: South Asian Fashion Introduction: Continuing the Dialogue on South Asian Fashion Studies</a></div><div class="wp-workCard_item"><span>International Journal of Fashion Studies</span><span>, 2018</span></div><div class="wp-workCard_item"><div class="carousel-container carousel-container--sm" id="profile-work-39347210-figures"><div class="prev-slide-container js-prev-button-container"><button aria-label="Previous" class="carousel-navigation-button js-profile-work-39347210-figures-prev"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">arrow_back_ios</span></button></div><div class="slides-container js-slides-container"><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/12555947/figure-1-special-section-south-asian-fashion-introduction"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/59488277/figure_001.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/12555957/table-1-special-section-south-asian-fashion-introduction"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/59488277/table_001.jpg" width="114" height="68" /></a></figure></div><div class="next-slide-container js-next-button-container"><button aria-label="Next" class="carousel-navigation-button js-profile-work-39347210-figures-next"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">arrow_forward_ios</span></button></div></div></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="7be6633ab1c5b3ac55eefdf961969bcd" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":59488277,"asset_id":39347210,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/59488277/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="39347210"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="39347210"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 39347210; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (true) { Aedu.setUpFigureCarousel('profile-work-39347210-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="38326595"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/38326595/Neorealism_the_Bra_and_the_New_Indian_Woman_in_Satyajit_Ray_s_The_Big_City"><img alt="Research paper thumbnail of Neorealism, the Bra and the New Indian Woman in Satyajit Ray’s The Big City" class="work-thumbnail" src="https://attachments.academia-assets.com/59003877/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/38326595/Neorealism_the_Bra_and_the_New_Indian_Woman_in_Satyajit_Ray_s_The_Big_City">Neorealism, the Bra and the New Indian Woman in Satyajit Ray’s The Big City</a></div><div class="wp-workCard_item"><span>Fashion Theory</span><span>, 2019</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Through the filmic lens of West Bengali director Satyajit Ray’s masterpiece The Big City (Mahanag...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Through the filmic lens of West Bengali director Satyajit Ray’s masterpiece The Big City (Mahanagar 1963), this article focuses on the symbolic meaning of the bra in postcolonial India. It reveals the ways in which the semi-hidden bra in the film functions as a contested site of patriarchal Indian modernity versus Euro-Western modernity and, in the style of neorealist cinema, a utopia of postcolonial and postnational feminine agency. Through textual analysis, the article delves into the influences of Italian neorealist cinema on Ray’s aesthetic choices and compares power, dress and femininity across western and non-western contexts. It articulates cultural similarities and differences and how dream-like cinematic narratives of everyday practices of power dressing provide a window into neoliberal performativity and utopian ambitions for feminine agency during periods of modernization and change.</span></div><div class="wp-workCard_item"><div class="carousel-container carousel-container--sm" id="profile-work-38326595-figures"><div class="prev-slide-container js-prev-button-container"><button aria-label="Previous" class="carousel-navigation-button js-profile-work-38326595-figures-prev"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">arrow_back_ios</span></button></div><div class="slides-container js-slides-container"><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/40907062/figure-1-abstract-dr-lipi-begum-is-lecturer-in-fashion"><img alt="Abstract Dr. Lipi Begum is Lecturer in Fashion Management. She is co-editor of the book Styling South Asian Youth Cultures: Fashion Media and Society (.B Tauris 2018) and Open Space and Reviews Editor for the International Journal of Fashion Studies (Intellect UK). Through the filmic lens of West Bengali director Satyajit Ray’s master- piece The Big City (Mahanagar 1963), this article focuses on the sym- bolic meaning of the bra in postcolonial India. It reveals the ways in which the semi-hidden bra in the film functions as a contested site of patriarchal Indian modernity versus Euro-Western modernity and, in the style of neorealist cinema, a utopia of postcolonial and postnational feminine agency. Through textual analysis, the article delves into the influences of Italian neorealist cinema on Ray’s aesthetic choices and compares power, dress and femininity across western and non-western contexts. It articulates cultural similarities and differences and how patriarchal Indian modernity versus Euro-Western modernity and, in the " class="figure-slide-image" src="https://figures.academia-assets.com/59003877/figure_001.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/40907072/figure-2-neorealism-the-bra-and-the-new-indian-woman-in"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/59003877/figure_002.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/40907080/figure-3-neorealism-the-bra-and-the-new-indian-woman-in"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/59003877/figure_003.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/40907081/figure-4-in-the-final-scene-arati-is-seen-in-rage-walking"><img alt="In the final scene, Arati is seen in a rage, walking into Mr. Himangshu’s office demanding an explanation and an apology for unfairly dismissing Edith from work. To which Mr. Himangshu replies “you are jeopardizing your own position. Would that Anglo-Indian friend have done the same for you?” Throughout this encounter her bra is on display (see Figure 4, Ray 1963), and this is similar to the previous encounter where she boldly requests a pay raise from Mr. Himangshu. Arati is positioned with her back to the camera. In this scene, attention is drawn to the display of Arati’s white bra under her sheer sari blouse. It is the bra, in this situation, that is instrumentally displayed to symbol- ize a seamless dream-like possibility and construction of Arati’s brazen- ness, determination and courage as a career woman, attractive salesgirl, friend, mother and wife. This is contrary to the reality of Arati’s friend, mother and wife. This is contrary to the reality of Arati’s " class="figure-slide-image" src="https://figures.academia-assets.com/59003877/figure_004.jpg" width="114" height="68" /></a></figure></div><div class="next-slide-container js-next-button-container"><button aria-label="Next" class="carousel-navigation-button js-profile-work-38326595-figures-next"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">arrow_forward_ios</span></button></div></div></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="8d61c1944ee97d11481ef6c14f44ce61" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":59003877,"asset_id":38326595,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/59003877/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="38326595"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="38326595"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 38326595; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=38326595]").text(description); $(".js-view-count[data-work-id=38326595]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 38326595; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='38326595']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "8d61c1944ee97d11481ef6c14f44ce61" } } $('.js-work-strip[data-work-id=38326595]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":38326595,"title":"Neorealism, the Bra and the New Indian Woman in Satyajit Ray’s The Big City","translated_title":"","metadata":{"doi":"10.1080/1362704X.2018.1532730","abstract":"Through the filmic lens of West Bengali director Satyajit Ray’s masterpiece The Big City (Mahanagar 1963), this article focuses on the symbolic meaning of the bra in postcolonial India. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (true) { Aedu.setUpFigureCarousel('profile-work-38326595-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="30577827"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/30577827/Beyond_the_Creative_Class_Mapping_the_Collaborative_Economy_of_Bangladeshi_Creative_Industries_Case_study_of_Oitij_jo"><img alt="Research paper thumbnail of Beyond the Creative Class, Mapping the Collaborative Economy of Bangladeshi Creative Industries: Case study of Oitij-jo" class="work-thumbnail" src="https://attachments.academia-assets.com/51998946/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/30577827/Beyond_the_Creative_Class_Mapping_the_Collaborative_Economy_of_Bangladeshi_Creative_Industries_Case_study_of_Oitij_jo">Beyond the Creative Class, Mapping the Collaborative Economy of Bangladeshi Creative Industries: Case study of Oitij-jo</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://ucl.academia.edu/DrLipiBegum">Dr Lipi Begum</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://independent.academia.edu/maheranjum">maher anjum</a></span></div><div class="wp-workCard_item"><span>South Asian Popular Culture Journal</span><span>, 2016</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This paper documents how the British Bangladeshi diaspora in the UK has been collaborating to con...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This paper documents how the British Bangladeshi diaspora in the UK has been collaborating to contribute to the growth of the creative sector in the UK and in Bangladesh. Through case studies from the creative-start-up of Oitij-jo (February 2013) and subsequently the planning of its second project ‘AKHON: Where is Bengal Now’, this paper charts the collaborations between the culture and creative industries of Bengali heritage (film, photography, theatre, dance, music, art, architecture, textiles and fashion) involved in the project between 2013 and 2016. The authors question widely used policy notions of ‘the creative class’ and ‘creative clustering’ and explore the collaborative economy model for the growth of Bangladeshi cultural and creative industries. Using infographics and netnographic interviews, the paper maps out advantages and disadvantages of collaboration linked to digital and non-digital peer-to-peer skills sharing and entrepreneurship. It concludes with the next steps for Oitij-jo and discusses the managerial implications for sustainability of its future projects.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="7389b1676b0f6f5ce61f1b3c6a7d2d95" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":51998946,"asset_id":30577827,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/51998946/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="30577827"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="30577827"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 30577827; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=30577827]").text(description); $(".js-view-count[data-work-id=30577827]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 30577827; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='30577827']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "7389b1676b0f6f5ce61f1b3c6a7d2d95" } } $('.js-work-strip[data-work-id=30577827]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":30577827,"title":"Beyond the Creative Class, Mapping the Collaborative Economy of Bangladeshi Creative Industries: Case study of Oitij-jo","translated_title":"","metadata":{"doi":"10.1080/14746689.2017.1294802","issue":"3","volume":"14","abstract":"This paper documents how the British Bangladeshi diaspora in the UK has been collaborating to contribute to the growth of the creative sector in the UK and in Bangladesh. 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This project was initiated by the not-for-profit social innovation organisation The Muslin Trust and the Outreach Team at the London College of Fashion with funding from Awards for All and Big Lottery Fund England. The project bought together young students (aged between 16 and 18) from diverse communities across London and invited them into LCF’s fashion studios at Mare Street (in east London) to experiment and engage with sustainable fashion and textiles. <br /> <br />Open Access: <a href="https://sparkjournal.arts.ac.uk/index.php/spark/article/view/9/26" rel="nofollow">https://sparkjournal.arts.ac.uk/index.php/spark/article/view/9/26</a></span></div><div class="wp-workCard_item"><div class="carousel-container carousel-container--sm" id="profile-work-21115201-figures"><div class="prev-slide-container js-prev-button-container"><button aria-label="Previous" class="carousel-navigation-button js-profile-work-21115201-figures-prev"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">arrow_back_ios</span></button></div><div class="slides-container js-slides-container"><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/4404635/figure-1-master-weaver-jabbar-in-rupshi-village-known-for"><img alt="Figure 1: Master-weaver Jabbar in Rupshi, a village known for Jamdani (Dhaka, Bangladesh), wshnea ckille wrara nocead dnwin tn him hy hie narante and nrannnarante The project culminated with a reception, held at Mare Street on 14 November 2015, where the students showcased their dresses and portfolios to tutors, friends and parents. Those who took part in the project have continued to pursue their passion for crafts and textiles through work in industry, higher education and research projects. The project also gained coverage in the local press (in Hackney Today and East End Life) and the dresses are due to be showcased again in February 2016, at the Muslin Festival hosted by the National Museum of Dhaka in Bangladesh. " class="figure-slide-image" src="https://figures.academia-assets.com/49021106/figure_001.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/4404643/figure-2-to-create-the-jamdani-weave-jabbar-uses-bamboo"><img alt="Figure 2: To create the Jamdani weave, Jabbar uses a bamboo splinter (as one would a needle) to combine weaving, embroidery and ornamentation. " class="figure-slide-image" src="https://figures.academia-assets.com/49021106/figure_002.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/4404647/figure-4-motifs-are-sewn-between-the-meeting-places-of-the"><img alt="Figure 4: Motifs are sewn between the meeting places of the warp and the weft. Jamdanis are usually woven in soft shades of fine grey cotton, incorporating blue-grey or sometimes with cream-white coloured designs, comprising flowers in ‘bhutidar’ style (set all over) or ‘tircha’ (run diagonally) (Bhatnagar, no date). " class="figure-slide-image" src="https://figures.academia-assets.com/49021106/figure_003.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/4404650/figure-3-the-jamdani-cloths-pattern-motif-was-woven-using"><img alt="Figure 3: The Jamdani cloth’s pattern motif was woven using natural-dyed indigo thread, made on a traditional handloom. " class="figure-slide-image" src="https://figures.academia-assets.com/49021106/figure_004.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/4404652/figure-5-master-weaver-jabbar-displaying-the-final-fabric"><img alt="Figure 5: Master-weaver Jabbar, displaying the final fabric, decorated in the bhutidar style. Spark: UAL Creative Teaching and Learning Journal / Vol 1 / Issue 1 (2016) The Jamdani project: A journey of intergenerational and transnational learning " class="figure-slide-image" src="https://figures.academia-assets.com/49021106/figure_005.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/4404656/figure-6-detail-of-the-jamdanis-motif-puratan-bhuti-ancient"><img alt="Figure 6: Detail of the Jamdani’s motif, a ‘Puratan Bhuti’ (ancient print) pattern. This, anc another cloth were created specially for this project. " class="figure-slide-image" src="https://figures.academia-assets.com/49021106/figure_006.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/4404658/figure-8-students-meeting-for-the-first-time-and"><img alt="Figure 8: Students meeting for the first time and experiencing what it is like to work at LCF’s studios. They learnt about where the fabric came from and handled the specially woven cloth Figure 8: Students meeting for the first time and experiencing what it is like to work at LCF’s " class="figure-slide-image" src="https://figures.academia-assets.com/49021106/figure_007.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/4404660/figure-7-the-jamdani-cloth-on-the-studio-at-lcf-the-two"><img alt="Figure 7: The Jamdani cloth on the studio table at LCF. The two cloths each had a different design: ‘Bhager Phara’ (tiger’s footprint) on top of one incorporating a ‘Puratan Bhuti’ (ancient print) (see Figure 6). Spark: UAL Creative Teaching and Learning Journal / Vol 1 / Issue 1 (2016) The Jamdani project: A journey of intergenerational and transnational learning " class="figure-slide-image" src="https://figures.academia-assets.com/49021106/figure_008.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/4404662/figure-9-students-got-to-know-each-other-through-group"><img alt="Figure 9: Students got to know each other through group discussions, during which they critiqued historical and cultural inspirations and viewed Regency evening gown designs. " class="figure-slide-image" src="https://figures.academia-assets.com/49021106/figure_009.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/4404666/figure-10-tutors-and-students-worked-together-on-dress-ideas"><img alt="Figure 10: Tutors and students worked together on dress ideas. " class="figure-slide-image" src="https://figures.academia-assets.com/49021106/figure_010.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/4404668/figure-11-the-tutors-encouraged-students-to-provide-feedback"><img alt="Figure 11: The tutors encouraged students to provide feedback, which allowed fo collaborative, further development of their initial ideas. Spark: UAL Creative Teaching and Learning Journal / Vol 1 / Issue 1 (2016) The Jamdani project: A journey of intergenerational and transnational learnin« " class="figure-slide-image" src="https://figures.academia-assets.com/49021106/figure_011.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/4404669/figure-12-students-and-tutors-at-the-lcf-studios-in-mare"><img alt="Figure 12: Students and tutors at the LCF studios in Mare Street. In this session they learnt about the use of muslin during the ‘Jane Austen’ era. Students had the opportunity to touch, feel and explore the stitching of two Regency style dresses made out of muslin. The garments were created as part of a project run by the Brick Lane Circle and Stepney Trust entitled ‘How villages and towns in Bengal dressed London ladies in the 17th, 18th and early 19th centuries’ (2013). " class="figure-slide-image" src="https://figures.academia-assets.com/49021106/figure_012.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/4404672/figure-14-making-the-dresses-hand-stitched-back-hook-details"><img alt="Figure 14: Making the dresses, hand-stitched back hook details. " class="figure-slide-image" src="https://figures.academia-assets.com/49021106/figure_013.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/4404675/figure-13-making-the-dresses-hand-stitched-pleats-spark-ual"><img alt="Figure 13: Making the dresses, hand-stitched pleats. Spark: UAL Creative Teaching and Learning Journal / Vol 1 / Issue 1 (2016) The Jamdani project: A journey of intergenerational and transnational learnin¢ " class="figure-slide-image" src="https://figures.academia-assets.com/49021106/figure_014.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/4404679/figure-15-and-the-final-evening-gowns-modelled-by-students"><img alt="Figures 15 and 16: The final evening gowns, modelled by students who worked on the project. Spark: UAL Creative Teaching and Learning Journal / Vol 1 / Issue 1 (2016) The Jamdani project: A journey of intergenerational and transnational learning " class="figure-slide-image" src="https://figures.academia-assets.com/49021106/figure_015.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/4404680/figure-18-at-the-reception-the-students-who-participated-in"><img alt="Figure 18: At the reception, the students who participated in the project received certificates. One student commented on being delighted to ‘receive my own sewing kit and working with different ages in a studio’ and another student said he particularly ‘enjoyed learning how to dc the back-stitch’. " class="figure-slide-image" src="https://figures.academia-assets.com/49021106/figure_016.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/4404681/figure-17-the-reception-at-lcf-mare-street-this-final-event"><img alt="Figure 17: The reception at LCF, Mare Street. This final event celebrated the project. We served Bengali snacks, had performances of Bengali music, a presentation on muslin by Rifat Wahhab chair of The Muslin Trust and the dresses were modelled for friends, family and tutors. Spark: UAL Creative Teaching and Learning Journal / Vol 1 / Issue 1 (2016) The Jamdani project: A journey of intergenerational and transnational learning " class="figure-slide-image" src="https://figures.academia-assets.com/49021106/figure_017.jpg" width="114" height="68" /></a></figure></div><div class="next-slide-container js-next-button-container"><button aria-label="Next" class="carousel-navigation-button js-profile-work-21115201-figures-next"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">arrow_forward_ios</span></button></div></div></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="96439d7f365bcc534cdb42a9fa20731d" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":49021106,"asset_id":21115201,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/49021106/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="21115201"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="21115201"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 21115201; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=21115201]").text(description); $(".js-view-count[data-work-id=21115201]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 21115201; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='21115201']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "96439d7f365bcc534cdb42a9fa20731d" } } $('.js-work-strip[data-work-id=21115201]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":21115201,"title":"The Jamdani Project: A Journey of Intergenerational and Transnational Learning","translated_title":"","metadata":{"issue":"1","volume":"1","abstract":"This photo essay illustrates the Jamdani Project, a journey of intergenerational and transnational learning through making, creating and playing. 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Clustering and Design Thinking: A Case Study of the Global Apparel Industry" class="work-thumbnail" src="https://attachments.academia-assets.com/49021210/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/19929975/Managing_Strategic_Change_Through_Creative_Clustering_and_Design_Thinking_A_Case_Study_of_the_Global_Apparel_Industry">Managing Strategic Change Through Creative Clustering and Design Thinking: A Case Study of the Global Apparel Industry</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://ucl.academia.edu/DrLipiBegum">Dr Lipi Begum</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://independent.academia.edu/LynneHammond">Lynne Hammond</a></span></div><div class="wp-workCard_item"><span>Chartered Management Institute UK (CMI)</span><span>, 2016</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Short-listed for Chartered Management Institute UK (CMI) Management Articles of the Year 2015, u...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Short-listed for Chartered Management Institute UK (CMI)  Management Articles of the Year 2015, under the category: Facilitating Change.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="d028f8f668c332b7455d3b49fa35febf" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" 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Aedu.setUpFigureCarousel('profile-work-19929975-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="11700585"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/11700585/Contemporary_South_Asian_Youth_Cultures_and_the_Fashion_landscape"><img alt="Research paper thumbnail of Contemporary South Asian Youth Cultures and the Fashion landscape" class="work-thumbnail" src="https://attachments.academia-assets.com/37143850/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/11700585/Contemporary_South_Asian_Youth_Cultures_and_the_Fashion_landscape">Contemporary South Asian Youth Cultures and the Fashion landscape</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://ucl.academia.edu/DrLipiBegum">Dr Lipi Begum</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://glasgow.academia.edu/RohitKDasgupta">Rohit K Dasgupta</a></span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">In this article we reflect on the timely dialogue which took place to address how economic growth...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">In this article we reflect on the timely dialogue which took place to address how economic growth and the expanding middle-class youth population in South Asia (Afghanistan, Bangladesh, Bhutan, India, Maldives, Nepal, Pakistan and Sri Lanka) influences sartorial identities. This working note is based on an ongoing research project: ‘South Asian Youth Cultures and Fashion’ and the related symposium at the London College of Fashion, which explores how South Asian sartorial identities have been previously classified and how they are changing in the face of an increasingly globalized world. The conversations which took place reiterated the very reason why the symposium was organized. Whilst there has been some study of South Asian fashion and dressing cultures within history, anthropology and its diaspora, little work has looked at the transnational implication of the changing cultural, economic and fashion education environments on dress cultures on youth.</span></div><div class="wp-workCard_item"><div class="carousel-container carousel-container--sm" id="profile-work-11700585-figures"><div class="prev-slide-container js-prev-button-container"><button aria-label="Previous" class="carousel-navigation-button js-profile-work-11700585-figures-prev"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">arrow_back_ios</span></button></div><div class="slides-container js-slides-container"><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/12604200/figure-1-contemporary-south-asian-youth-cultures-and-the"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/37143850/figure_001.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/12604211/figure-2-contemporary-south-asian-youth-cultures-and-the"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/37143850/figure_002.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/12604224/figure-3-contemporary-south-asian-youth-cultures-and-the"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/37143850/figure_003.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/12604249/figure-4-in-the-final-session-streetstyle-and-lyrical-swag"><img alt="In the final session ‘Streetstyle and Lyrical Swag’, Aria Reza Alagha intro- duced us to ‘Swagistan’, a term coined by the BBC British Asian radio host, Bobby Friction. Alagha explained the importance of social media as a plat- form through which youth-produced sartorial cultures could be explored and showcased. Swagistan is both a place and a non-place. Alagha has taken Friction’s term and applied it to a popular Tumblr blog where he, along with a team of contributors, curates and showcases British Asian ‘swag’, raising the importance of widening the participation of lived experiences to South Asian fashion studies and practices. " class="figure-slide-image" src="https://figures.academia-assets.com/37143850/figure_004.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/12604267/figure-5-swagistan-tumblr-page-photo-aria-reza-alagha"><img alt="Figure 5: ‘Swagistan’ Tumblr page. Photo: Aria Reza Alagha. Through this linkage, she discussed the resurgence of orientalist viewpoints in contemporary Indian fashion, which go beyond Edward Said’s original work, Orientalism (1978). " class="figure-slide-image" src="https://figures.academia-assets.com/37143850/figure_005.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/12604286/table-1-contemporary-south-asian-youth-cultures-and-the"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/37143850/table_001.jpg" width="114" height="68" /></a></figure></div><div class="next-slide-container js-next-button-container"><button aria-label="Next" class="carousel-navigation-button js-profile-work-11700585-figures-next"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">arrow_forward_ios</span></button></div></div></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="e20d812bf0b7c70c69442533219a6ccf" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":37143850,"asset_id":11700585,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/37143850/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="11700585"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="11700585"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 11700585; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=11700585]").text(description); $(".js-view-count[data-work-id=11700585]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 11700585; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='11700585']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "e20d812bf0b7c70c69442533219a6ccf" } } $('.js-work-strip[data-work-id=11700585]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":11700585,"title":"Contemporary South Asian Youth Cultures and the Fashion landscape","translated_title":"","metadata":{"abstract":"In this article we reflect on the timely dialogue which took place to address how economic growth and the expanding middle-class youth population in South Asia (Afghanistan, Bangladesh, Bhutan, India, Maldives, Nepal, Pakistan and Sri Lanka) influences sartorial identities. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (true) { Aedu.setUpFigureCarousel('profile-work-11700585-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="19928779"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/19928779/Lingerie_Brand_Advertising_through_Saidian_Logic"><img alt="Research paper thumbnail of Lingerie Brand Advertising through Saidian Logic" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title">Lingerie Brand Advertising through Saidian Logic</div><div class="wp-workCard_item"><span>Working Papers in Fashion Studies, University of the Arts London Publications</span><span>, 2012</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated"> </span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="19928779"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="19928779"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 19928779; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-19928779-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="19928745"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/19928745/Postgraduate_Paper_Prize_awarded_for_Hyper_Glocal_Realities_Through_the_Lens_of_Lingerie_Advertising_in_India"><img alt="Research paper thumbnail of Postgraduate Paper Prize awarded for: Hyper-Glocal Realities: Through the Lens of Lingerie Advertising in India" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title">Postgraduate Paper Prize awarded for: Hyper-Glocal Realities: Through the Lens of Lingerie Advertising in India</div><div class="wp-workCard_item"><span>14th Annual Conference of the International Foundation of Fashion Technology Institutes (IFFTI), Pearl Academy of Fashion, Jaipur, India</span><span>, 2012</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="19928745"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="19928745"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 19928745; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-19928745-figures'); } }); </script> <div class="profile--tab_heading_container js-section-heading" data-section="Talks" id="Talks"><h3 class="profile--tab_heading_container">Talks by Dr Lipi Begum</h3></div><div class="js-work-strip profile--work_container" data-work-id="49241112"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/49241112/Interview_for_Forbes_Why_Does_the_Fashion_Industry_Care_Less_About_Garment_Workers_in_Other_Countries"><img alt="Research paper thumbnail of Interview for Forbes: Why Does the Fashion Industry Care Less About Garment Workers in Other Countries?" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title">Interview for Forbes: Why Does the Fashion Industry Care Less About Garment Workers in Other Countries?</div><div class="wp-workCard_item"><span>Forbes</span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Why Does the Fashion Industry Care Less About Garment Workers in Other Countries?, Forbes (Jul 30...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Why Does the Fashion Industry Care Less About Garment Workers in Other Countries?, Forbes (Jul 30, 2020) interviewed by Brooke Roberts-Islam 2020.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="49241112"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="49241112"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 49241112; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-49241112-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="49241082"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/49241082/Decentring_Fashion_Cultural_Urgencies_Actions_toward_representation_equity_justice_well_being"><img alt="Research paper thumbnail of Decentring Fashion, Cultural Urgencies: Actions toward representation, equity, justice, well-being" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title">Decentring Fashion, Cultural Urgencies: Actions toward representation, equity, justice, well-being</div><div class="wp-workCard_item"><span>Decolonising the Arts Institute, University of the Arts London</span><span>, 2021</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Decentring Fashion by Charlie Athill & Cher Potter & Divia Patel & Lipi Begum & Michael McMillan ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Decentring Fashion<br />by Charlie Athill & Cher Potter & Divia Patel & Lipi Begum & Michael McMillan & Serkan Delice<br />March 2, 2021<br /><br />“Decentering Fashion” was guest-curated by the Cultural and Historical Studies team at London College of Fashion. Professor Shahidha Bari chairs a discussion with researchers at UAL and with colleagues at the V&A, to reflect on work that attempts to de-centre Western, white and Eurocentric ideas of fashion. The aim of the session is to think about fashion as a more global network of production and consumption. Participants present their research and reflect on the challenges and opportunities for fashion studies going forward.<br /><br />This roundtable was part of the series “Cultural Urgencies: Actions toward representation, equity, justice, well-being,” organised and hosted by the Decolonising Art Institute Research Fellows, draws together their varied but overlapping concerns with representation, equity, justice and well-being in the fields of visual culture, higher education and art institutions. Issues around historical and cultural narrative production, power relations, welfare, and inclusive communication will be variously explored and with an emphasis on impacting change.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="49241082"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="49241082"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 49241082; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=49241082]").text(description); $(".js-view-count[data-work-id=49241082]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 49241082; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='49241082']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=49241082]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":49241082,"title":"Decentring Fashion, Cultural Urgencies: Actions toward representation, equity, justice, well-being","translated_title":"","metadata":{"abstract":"Decentring Fashion\nby Charlie Athill \u0026 Cher Potter \u0026 Divia Patel \u0026 Lipi Begum \u0026 Michael McMillan \u0026 Serkan Delice\nMarch 2, 2021\n\n“Decentering Fashion” was guest-curated by the Cultural and Historical Studies team at London College of Fashion. 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Issues around historical and cultural narrative production, power relations, welfare, and inclusive communication will be variously explored and with an emphasis on impacting change.","internal_url":"https://www.academia.edu/49241082/Decentring_Fashion_Cultural_Urgencies_Actions_toward_representation_equity_justice_well_being","translated_internal_url":"","created_at":"2021-06-14T10:10:59.892-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":4611397,"coauthors_can_edit":true,"document_type":"talk","co_author_tags":[],"downloadable_attachments":[],"slug":"Decentring_Fashion_Cultural_Urgencies_Actions_toward_representation_equity_justice_well_being","translated_slug":"","page_count":null,"language":"en","content_type":"Work","summary":"Decentring Fashion\nby Charlie Athill \u0026 Cher Potter \u0026 Divia Patel \u0026 Lipi Begum \u0026 Michael McMillan \u0026 Serkan Delice\nMarch 2, 2021\n\n“Decentering Fashion” was guest-curated by the Cultural and Historical Studies team at London College of Fashion. 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Issues around historical and cultural narrative production, power relations, welfare, and inclusive communication will be variously explored and with an emphasis on impacting change.","impression_tracking_id":null,"owner":{"id":4611397,"first_name":"Dr Lipi","middle_initials":null,"last_name":"Begum","page_name":"DrLipiBegum","domain_name":"ucl","created_at":"2013-06-20T23:28:17.040-07:00","display_name":"Dr Lipi Begum","url":"https://ucl.academia.edu/DrLipiBegum"},"attachments":[],"research_interests":[{"id":14967,"name":"Decolonising","url":"https://www.academia.edu/Documents/in/Decolonising"}],"urls":[{"id":10265739,"url":"https://www.youtube.com/watch?v=A77vQKICssw"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-49241082-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="49241026"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/49241026/Podcast_Island_Designed_Ep_2_The_Cost_of_Design"><img alt="Research paper thumbnail of Podcast: Island Designed Ep 2 - The Cost of Design" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title">Podcast: Island Designed Ep 2 - The Cost of Design</div><div class="wp-workCard_item"><span>Blick Studios</span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Episode 2 of the Small Town Big Dreams Series for Belfast Design Week 2020. In this episode on th...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Episode 2 of the Small Town Big Dreams Series for Belfast Design Week 2020. In this episode on the human cost of design, Blick Studio hosts Rachel and Karishma invite me to discuss attitudes to the ethics around the products we consume and the human cost of it all. How can we engage with design in a more ethical and responsible way?</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="49241026"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="49241026"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 49241026; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=49241026]").text(description); $(".js-view-count[data-work-id=49241026]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 49241026; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='49241026']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=49241026]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":49241026,"title":"Podcast: Island Designed Ep 2 - The Cost of Design","translated_title":"","metadata":{"abstract":"Episode 2 of the Small Town Big Dreams Series for Belfast Design Week 2020. In this episode on the human cost of design, Blick Studio hosts Rachel and Karishma invite me to discuss attitudes to the ethics around the products we consume and the human cost of it all. How can we engage with design in a more ethical and responsible way? ","publication_date":{"day":null,"month":null,"year":2020,"errors":{}},"publication_name":"Blick Studios"},"translated_abstract":"Episode 2 of the Small Town Big Dreams Series for Belfast Design Week 2020. In this episode on the human cost of design, Blick Studio hosts Rachel and Karishma invite me to discuss attitudes to the ethics around the products we consume and the human cost of it all. How can we engage with design in a more ethical and responsible way? ","internal_url":"https://www.academia.edu/49241026/Podcast_Island_Designed_Ep_2_The_Cost_of_Design","translated_internal_url":"","created_at":"2021-06-14T09:59:34.584-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":4611397,"coauthors_can_edit":true,"document_type":"talk","co_author_tags":[],"downloadable_attachments":[],"slug":"Podcast_Island_Designed_Ep_2_The_Cost_of_Design","translated_slug":"","page_count":null,"language":"en","content_type":"Work","summary":"Episode 2 of the Small Town Big Dreams Series for Belfast Design Week 2020. In this episode on the human cost of design, Blick Studio hosts Rachel and Karishma invite me to discuss attitudes to the ethics around the products we consume and the human cost of it all. How can we engage with design in a more ethical and responsible way? ","impression_tracking_id":null,"owner":{"id":4611397,"first_name":"Dr Lipi","middle_initials":null,"last_name":"Begum","page_name":"DrLipiBegum","domain_name":"ucl","created_at":"2013-06-20T23:28:17.040-07:00","display_name":"Dr Lipi Begum","url":"https://ucl.academia.edu/DrLipiBegum"},"attachments":[],"research_interests":[{"id":10272,"name":"Ethical Fashion","url":"https://www.academia.edu/Documents/in/Ethical_Fashion"}],"urls":[{"id":10265726,"url":"https://podbay.fm/p/small-town-big-dreams-796360/e/1605113109"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-49241026-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="49240965"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/49240965/Panel_Chair_Clothing_and_Cosmetics_Race_and_Gender"><img alt="Research paper thumbnail of Panel Chair: Clothing and Cosmetics, Race and Gender" class="work-thumbnail" src="https://attachments.academia-assets.com/67625029/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/49240965/Panel_Chair_Clothing_and_Cosmetics_Race_and_Gender">Panel Chair: Clothing and Cosmetics, Race and Gender</a></div><div class="wp-workCard_item"><span>British Association of Film, Television and Screen Studies</span><span>, 2021</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Clothing and Cosmetics, Race and Gender, Time and the Body in Film, Television and Screen Studies. </span></div><div class="wp-workCard_item"><div class="carousel-container carousel-container--sm" id="profile-work-49240965-figures"><div class="prev-slide-container js-prev-button-container"><button aria-label="Previous" class="carousel-navigation-button js-profile-work-49240965-figures-prev"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">arrow_back_ios</span></button></div><div class="slides-container js-slides-container"><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129725/table-1-full-baftss-conference-programme-schedule-with"><img alt="Full BAFTSS Conference 2021 programme schedule with individual paper abstracts " class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_001.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129728/table-2-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_002.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129733/table-3-my-current-project-is-princes-grace-kelly-minute"><img alt="My current project is “Princes [GRACE] Kelly’, a 31-minute audiovisual essay that reconstructs The Wedding in Monaco using sounds and image: from Kelly’s film performances; a short career which spanned only six years and consisted of eleven films. What happens when one recreates biography with performance and documentary with fiction? What are the implications of condensing an already short career into an even shorter short film? And what are the ethical implications of audiovisually appropriating Grace Kelly’s body in this way? In my presentation, | plat to address these questions and also screen a portion of the essay. " class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_003.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129738/table-4-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_004.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129743/table-5-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_005.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129751/table-6-attempt-to-express-the-inexpressible-that-grows-and"><img alt="attempt to express the inexpressible that grows and heals non-linear, Gelis rejects Western Ocularcentrism and metrics and, instead, follows a topological time concept while allowing nonvisual, haptic, embodied knowledge to take up space. This results in a filmic expe rience that lets the viewer touch not just textile, skin and film emulsion but also time, tying on Michel Serres’ thoughts in Five Senses. A Philosophy of Mingled Bodies when he writes that topology is, in fact, tactile. " class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_006.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129756/table-7-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_007.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129762/table-8-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_008.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129770/table-9-screen-and-in-the-minds-eye-of-the-viewer-thereby"><img alt="screen and in the mind’s eye of the viewer thereby opening up opportunities for a new ‘dialogue of discovery’ with the work. " class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_009.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129783/table-10-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_010.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129792/table-11-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_011.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129798/table-12-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_012.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129803/table-13-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_013.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129810/table-14-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_014.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129816/table-15-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_015.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129821/table-16-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_016.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129826/table-17-black-audio-film-collectives-the-last-angel-of"><img alt="Black Audio Film Collective’s The Last Angel of History (1996) utilises Afrofuturism’s ‘posthuman’ philosophical principles, challenging normative assumptions around the human body and temporality. This produces a subversive representation of the black subject — specifically of several neglected or misunderstood black music icons. The nexus of this complex framework comes in the form of the film’s protagonist: the Data Thief. The Data Thief travels from the future with the technological tools that allow him to oversee the effects of historical bondage, as well as the sonic mechanisms to overcome them. He appears only in techno-tableaux, appearing to exist only through technology, ‘as if the lines between the human body and the digital body have become indistinct’ (Skoller, 1997: 14). " class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_017.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129831/table-18-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_018.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129836/table-19-this-paper-examines-the-ways-in-which-the"><img alt="This paper examines the ways in which the relationship between the human and the non-human is staged in recent three films that are set and portray Amazonian landscapes: Los silencios (Beatriz Seigner, 2018, Brazil), A febre (The Fever, Maya Da-Rin, 2019, Brazil) and Chuva é cantoria na aldeia dos mortos (The Dead and the Others, Renée Nader Messora and Jodo Salaviza, 2018, Brazil/Portugal). Images of forests and woodlands have featured in cinema, especially as settings for films that belong to specific genres, such is the case of horror movies. However, recent films that portray forest landscapes reveal aspects that go beyond symbolic representations of these spaces and places. This paper aims to look at the temporality of nature and the formal and ethical role of spatiality in films that attempt to bring a non-anthropocentric approach to cinema, based on an idea of nature as a network of organic and inorganic beings, whose agency reaches beyond human life -worlds. | argue that, in times of environmental catastrophes, the treatment given to nature in these films emphasizes the materiality and agency of non-human elements, in addition to making the observer feel and think of nature as a corporeal and affective experience. Based on an ecological thought, as proposed by Timothy Morton, Anat Pick and Guinevere Narraway, and on the concepts of haptic visuality (Marks, Bruno) and affect (Massumi, Bennett, Rutherford), this paper contends that by ascribing agency to the nonhuman and challenging traditional ideas of representation, the films present an affective ecology of moving images. It concludes by proposing that nature and the nonhuman can evoke both aesthetic and political power that can become a gesture of activism, while also revealing a new ethics of representation. " class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_019.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129840/table-20-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_020.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129843/table-21-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_021.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129846/table-22-the-cinema-knows-many-bodies-and-many-times-where"><img alt="d1 | The cinema knows many bodies, and many times. Where the former are concerned, these include the on-screen body, the body of the film itself, and the body/bodies of its spectator(s). Its times are also constituted in multiple dimensions, including events set in the past, depicted in the " class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_022.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129850/table-23-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_023.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129852/table-24-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_024.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129853/table-25-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_025.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129855/table-26-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_026.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129856/table-27-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_027.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129860/table-28-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_028.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129864/table-29-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_029.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129865/table-30-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_030.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129867/table-31-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_031.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129868/table-32-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_032.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129869/table-33-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_033.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129872/table-34-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_034.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129874/table-35-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_035.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129875/table-36-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_036.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129876/table-37-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_037.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129877/table-38-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_038.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129879/table-39-addition-to-representing-an-intercultural-cinema"><img alt="n addition to representing an intercultural cinema, much of the emotional proximity between the films and their viewers enforces Marks’ notior yf ‘haptic visuality’, which encourages one to be ‘co-present’ with the films (Marks, 1999: 164) as well as to maintain a ‘widely shared...collective »xperience’ (Marks:1999,5). This is particularly evident through the ways in which the films were directed and produced. Labaki’s protagonists hemselves were not actors, rather they were children who had lived a very similar experience to those they were portraying. As a result of this, he medium of film gave them a powerful platform from which to express their stories of child abuse and poverty to an international audience. " class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_039.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129880/table-40-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_040.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129881/table-41-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_041.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129883/table-42-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_042.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129884/table-43-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_043.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129885/table-44-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_044.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129886/table-45-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_045.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129887/table-46-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_046.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129888/table-47-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_047.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129889/table-48-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_048.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129890/table-49-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_049.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129891/table-50-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_050.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129892/table-51-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_051.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129893/table-52-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_052.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129894/table-53-television-script-by-jill-craigie-includes-the"><img alt="A 1949 television script by Jill Craigie includes the recreation of a well-known event from the history of the suffragette movement, when the young Charlotte Marsh was apprehended disrupting a speech by Prime Minister Herbert Asquith on the roof of Bingley Hall in Birmingham. This rooftop scene in Craigie’s script details Charlotte’s nervous chat with a friend about their tactics, their shouting ‘Votes for women!’ and hurling slates from the roof, before a hose pipe is turned on them by the police. Shaped by an attention to ‘live’ production methods, the script is peppered with a number of such moments — often privileging Charlotte’s first-hand, psychological and physical, experiences. Through a close attention to performance, movement and use of space, | suggest these scenes offer evidence of Craigie’s feminist attempt to use the medium’s ‘liveness’, ‘immediacy’ and ‘intimacy’ as a means of forcefully conveying the suffragettes’ struggle for the vote. " class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_053.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129896/table-54-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_054.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129898/table-55-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_055.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129900/table-56-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_056.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129902/table-57-white-and-the-huntsman-angelique-in-dark-shadows"><img alt="White and the Huntsman (2012), Angelique in Dark Shadows (2012), the ghost of Edith Brennan in Mama (2013) and Rose the Hat in Doctor Sleep (2019) are given a voice - literally and metaphorically - to share their side of the story. " class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_057.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129904/table-58-clouds-over-sidra-barry-pousman-gabo-arora-usa"><img alt="1 Clouds over Sidra | Barry Pousman/Gabo Arora | USA | 2015. https://www.with.in/watch/CKRcSWA. This paper will explore the animated body within a selection of short films that include De Passant (Pieter Coudyzer, 2020), Sororal (Frederick Even and Louise Mecadier, 2019), The Pearce Sisters (Louis Cook, 2007) and Father and Daughter (Michael Duodok de Wit, 2000). It will examine trauma, damage, death and decay - of the mind as well as physical erosion of the body - and how the passing of time impacts upon these things, as well as the significance of the making of the body (the technology), the culture of being and the sense of belonging and, paradoxically, of not. What does time mean within the animated short? Coudyzer, reflecting on his film De Passant and the event that inspired it, acknowledged: ‘the thing that happened has never left my mind.’ Animation becomes a vessel for capturing narratives of physical and mental harm and loss, of damage to bodies and minds, of cycles that end; all stories are accentuated by the slow, ghostly passage of time. " class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_058.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129906/table-59-character-customization-is-an-important-part-of-the"><img alt="Character customization is an important part of the gaming experience, which can be found in many genres, although the RPG (Role-Playing Game) is the genre which takes particular advantage of this technology. Good examples are Blade & Soul (2012, NCSOFT) and The Elder Scrolls V: Skyrim (2011, Bethesda Softworks). An integral part of the role play is in the creativity of self-design, indeed, this might be a principal attraction. Games offers the possibility for the player to play as a completely different ‘body’. This paper will focus on the process of players creating their own avatar through character customization to analyses of body image complexity in digital games. | argue that not only is character customization a play of self-image, but an effective solution to resolve players’ concerns such as female players’ anxiety about sexually suggestive female body images. " class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_059.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129909/table-60-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_060.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129912/table-61-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_061.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129918/table-62-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_062.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129921/table-63-hans-richters-experimental-rhythmus-presents-series"><img alt="Hans Richter’s experimental Rhythmus 21 presents a series of abstract shapes that play with the spectator’s perceptual engagement with the film frame. What is at stake in analysing this work is how the spectator can form sense from the abstract patterns presented. Watching the film and encountering its rhythms puts the spectator in a mode of perception that engenders pattern spotting: a cognitive seduction to the contrapuntal logic that Richter creates between different shapes and forms. The film seems to invite from the spectator a new conception of rationality; Richter’s intention was to “render the emotions as accessible to our powers of judgement as the other domains of the human will, from which the ‘soul’ has traditionally been excluded.” This paper will explore Richter’s films and writings in light of the recent “Promethean” philosophies of Ray Brassier and Reza Negarestani, as well as the xenofeminist writings of the collective Laboria Cuboniks. This will require important historical contextualisation since, as Sarah Cooper " class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_063.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129924/table-64-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_064.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129928/table-65-jean-frangois-lyotard-time-today-in-the-inhuman"><img alt="6 Jean-Frangois Lyotard, ‘Time Today’ in The Inhuman, (Cambridge: Polity Press, 1993) p. 62. " class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_065.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129932/table-66-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_066.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129937/table-67-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_067.jpg" width="114" height="68" /></a></figure></div><div class="next-slide-container js-next-button-container"><button aria-label="Next" class="carousel-navigation-button js-profile-work-49240965-figures-next"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">arrow_forward_ios</span></button></div></div></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="bb5c127218c5d0b0cc0bfb02c15a6b63" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":67625029,"asset_id":49240965,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/67625029/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="49240965"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="49240965"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 49240965; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=49240965]").text(description); $(".js-view-count[data-work-id=49240965]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 49240965; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='49240965']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "bb5c127218c5d0b0cc0bfb02c15a6b63" } } $('.js-work-strip[data-work-id=49240965]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":49240965,"title":"Panel Chair: Clothing and Cosmetics, Race and Gender","translated_title":"","metadata":{"abstract":"Clothing and Cosmetics, Race and Gender, Time and the Body in Film, Television and Screen Studies. 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","impression_tracking_id":null,"owner":{"id":4611397,"first_name":"Dr Lipi","middle_initials":null,"last_name":"Begum","page_name":"DrLipiBegum","domain_name":"ucl","created_at":"2013-06-20T23:28:17.040-07:00","display_name":"Dr Lipi Begum","url":"https://ucl.academia.edu/DrLipiBegum"},"attachments":[{"id":67625029,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/67625029/thumbnails/1.jpg","file_name":"Conference_Schedule_BAFTSS_2021.pdf","download_url":"https://www.academia.edu/attachments/67625029/download_file","bulk_download_file_name":"Panel_Chair_Clothing_and_Cosmetics_Race.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/67625029/Conference_Schedule_BAFTSS_2021-libre.pdf?1623690646=\u0026response-content-disposition=attachment%3B+filename%3DPanel_Chair_Clothing_and_Cosmetics_Race.pdf\u0026Expires=1744367270\u0026Signature=aRK2t50rpPHKxqx6Y96WGVQ0x5W8C6Clwu06yiQGJ7JIyDuEgYRwMYwDAj90MpbaX7C7eju19CtSzw-5OMVU97qnV16eoQli2gwP4HGG0ID3Gp60Hjo72sXybYjsyqRtXIoc9jLQpDu2Hl0qYqpt4iF0Nfd~tZt-sRS~eQh7XRtV6Xv7jOfaMajoHClgdnPpWYgd9~PJJ9-5awsf2gixvR3gKgvY8MMF-wIOSpJvikGPHMeWRp3j9FRmUeNyT6mAcf9vuFlzDvvbMz4MJS2MwbDa5efJ91UpC3QPKm6iNE02TSV9x8TpV7rE6i~ruNm4sh~cvESHHFwTaTnH0MqbLw__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":5247,"name":"Critical Race Theory","url":"https://www.academia.edu/Documents/in/Critical_Race_Theory"},{"id":68023,"name":"Beauty","url":"https://www.academia.edu/Documents/in/Beauty"},{"id":93189,"name":"Fashion and Film","url":"https://www.academia.edu/Documents/in/Fashion_and_Film"}],"urls":[{"id":10265717,"url":"https://www.baftss.org/conf-2021"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (true) { Aedu.setUpFigureCarousel('profile-work-49240965-figures'); } }); </script> </div><div class="profile--tab_content_container js-tab-pane tab-pane" data-section-id="9200699" id="currentprojects"><div class="js-work-strip profile--work_container" data-work-id="39164100"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/39164100/Business_of_Fashion_Textiles_and_Technology_Mapping_the_UK_Fashion_Textiles_and_Technology_Ecosystem_Identifying_Opportunities_for_Investment_Research_and_Development_Business_Growth_Job_Creation_and_Tackling_skills_gaps"><img alt="Research paper thumbnail of Business of Fashion, Textiles & Technology: Mapping the UK Fashion, Textiles and Technology Ecosystem: Identifying Opportunities for Investment, Research and Development, Business Growth, Job Creation and Tackling skills gaps" class="work-thumbnail" src="https://attachments.academia-assets.com/68709563/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/39164100/Business_of_Fashion_Textiles_and_Technology_Mapping_the_UK_Fashion_Textiles_and_Technology_Ecosystem_Identifying_Opportunities_for_Investment_Research_and_Development_Business_Growth_Job_Creation_and_Tackling_skills_gaps">Business of Fashion, Textiles & Technology: Mapping the UK Fashion, Textiles and Technology Ecosystem: Identifying Opportunities for Investment, Research and Development, Business Growth, Job Creation and Tackling skills gaps</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This initial report, Mapping the UK Fashion, Textiles and Technology Ecosystem, aims to identify ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This initial report, Mapping the UK Fashion, Textiles and Technology Ecosystem, aims to identify opportunities for investment, research and development, business growth, job creation and tackle skills gaps in the UK fashion, textiles and technology (FTT) ecosystem.<br /><br />Based on a survey consultation that engaged over 2,400 small, medium and micro businesses (SMEs) and over 100 stakeholders and intermediaries, including industry specialists, trade bodies and workspace providers, the report is one of the most extensive baseline studies to date on FTT SMEs and the first comprehensive insight into the UK FTT ecosystem leading up to March 2020, pre-Covid-19.<br /><br />This survey has been instrumental in gaining an in-depth understanding of the polycentric nature of the sector and its geographical spread. This should strongly influence both how the sector is viewed as an economic resource of national importance and the future allocation of the R&D it needs to access in order to thrive — this research also provides initial insights for progress post-Covid.<br /><br />Fashion is estimated to contribute £35 billion to the British economy every year, while £74 billion+ is spent by UK consumers on wider apparel, clothing accessories, household textiles and carpets, accounting for 890,000 people employed across the UK, and £9 billion of export.<br /><br />The report offers recommendations for the growth of the UK FTT related economy and in particular SMEs. In the words of Professor Christopher Smith, Executive Chair of the Arts and Humanities Research Council, and Professor Andrew Chitty, Challenge Director at Creative Industries, UK Research and Innovation, joint authors of a foreward:<br /><br />The identification of opportunities for R&D programmes to support fashion’s transition to a more sustainable future provides both leadership for the sector and inspiration to others seeking a route to a more circular economy. As we build the case for long-term support for research and innovation in the Creative Industries this report shows very clearly why Fashion, Textiles and Technology must be at the heart of that mission.<br /><br />The authors of the report are:<br /><br />Professor Jane Harris, Director of the Business of Fashion, Textiles and Technology (BFTT) Creative R&D Partnership led by the University of the Arts London (UAL), and Professor of Digital Design and Innovation.<br /><br />Dr Lipi Begum, BFTT Postdoctoral Research Fellow, UAL, and Senior Lecturer in Fashion Management.<br /><br />Dr Alessandra Vecchi, BFTT Co-Investigator, UAL, and Reader in International Fashion Business Research.</span></div><div class="wp-workCard_item"><div class="carousel-container carousel-container--sm" id="profile-work-39164100-figures"><div class="prev-slide-container js-prev-button-container"><button aria-label="Previous" class="carousel-navigation-button js-profile-work-39164100-figures-prev"><span 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class="figure-slide-container"><a href="https://www.academia.edu/figures/38658694/figure-6-mckinsey-company-time-for-change-how-to-use-the"><img alt="[57] McKinsey & Company, 2020, Time for Change: How to use the crisis to make fashion sourcing more agile sustainable, https://www.mckinsey.com/~/media/McKinsey/Industries/Retail/Our%20Insights/Time%20 an for%20change%20How%20to%20use%20the%20crisis%20to%20make%20fashion%20sourcing%20 more%20agile%20and%20sustainable/Time-for-change-How-to-use-the-crisis-to-make-fashion-sourcing- more-agile-and-sustainable.pdf [58] UK Fashion and Textile Association, 2020, Fashion & Textiles post Brexit, http://textilenouse.co.uk/wp-con- tent/uploads/UKFT-Brexit-Position-Paper.pdf " class="figure-slide-image" src="https://figures.academia-assets.com/68709563/figure_006.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/38658703/figure-7-business-of-fashion-textiles-technology-mapping-the"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/68709563/figure_007.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/38658714/figure-8-business-of-fashion-textiles-technology-mapping-the"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/68709563/figure_008.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/38658720/figure-9-of-descriptive-data-on-the-geographical-spread-of"><img alt="Table of descriptive data on the geographical spread of the UK FTT industry to date *Source: Office for National Statistics, 2020, Analysis showing the count, employment, employees and turnover of VAT and/or PAYE based enterprises i Regions of the United Kingdom for the Fashion and Textile Industry, Snapshot of the Inter-Departmental Business Register taken on 13 March 2020 " class="figure-slide-image" src="https://figures.academia-assets.com/68709563/figure_009.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/38658727/figure-10-business-of-fashion-textiles-technology-mapping"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/68709563/figure_010.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/38658733/figure-11-business-of-fashion-textiles-technology-mapping"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/68709563/figure_011.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/38658743/figure-4-what-is-the-annual-turnover-of-your-business"><img alt="Figure 4. What is the annual turnover of your business? " class="figure-slide-image" src="https://figures.academia-assets.com/68709563/figure_012.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/38658748/figure-6-how-long-has-your-business-been-in-operation-what"><img alt="Figure 6. How long has your business been in operation? Figure 5. What is the legal status of your business? These advantages are highlighted in the survey responses to how impor. tant location is based on the following factors (see Figure 7, page 44): quality of life for the respondent and their staff (average mean score 4.0 [out of 5.0, see footnote!**I]); quality of the infrastructure (average mean score 3.7); access to affordable workspace (average mean score 3.7); access to customers (average mean score 3.4); access to supporting organisations (average mean score 3.3); collaboration with other FTT businesses (average mean score 3.2); provides prestige to the compa- ny (average mean score 3.2); availability of skilled labour (average mean score 3.2); access to universities/colleges/training (average mean score 3.0); access to suppliers (average mean score 2.9). " class="figure-slide-image" src="https://figures.academia-assets.com/68709563/figure_013.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/38658752/figure-9-ae-ee-et-ae-ee-er-nee-de-ae-et-ye-ore-ene-nit-pk"><img alt="ae ee et ae ee er NEE De aE ET ye ORE ENE) Nit pk poe ee NN EE -3.0 to -2.1 = high threat; -2.0 to -1.1 = moderate threat; -1 to 0.0 = neutral, 0.1 to 1.0 = low opportunity, 1.1 to 2.0 = moderate opportunity, 2.1 to 5.0 = increasingly high opportunity Figure 9: Summary of Challenges and Opportunities Facing UK FTT SMEs in the Next Three to Five Years " class="figure-slide-image" src="https://figures.academia-assets.com/68709563/figure_014.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/38658759/figure-15-business-of-fashion-textiles-technology-mapping"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/68709563/figure_015.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/38658767/figure-11-how-important-are-the-following-goals-for"><img alt="Figure 11: How important are the following goals for developing your business skills capacity in the next three to five years? skills shortages are being met by technical skills shortages, for example in making and crafts skills, such as pattern cutting by hand, as well as tech- nical garment and digital technology skills. Deficits were attributed to slow adoption of industry skills training by higher education providers. There was a perception that a university education in the UK is seen as the most credible way to gain skills and employment in the sector, compared to alternative training schemes such as apprenticeships. The slow adoption of skills was also attributed to a lack of perceived interest from a younger generation in technical textiles and manufacturing careers — due partly toa decline in the UK’s manufacturing industry over the past 20 years, and, as Suzanne Jennions, co-director of Liverpool’s Fabric District!°5!, comments: " class="figure-slide-image" src="https://figures.academia-assets.com/68709563/figure_016.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/38658774/figure-17-alex-poplar-works-is-part-of-the-wider-fashion-and"><img alt="Alex: Poplar Works is part of the wider fashion and textiles ecosystem because it marries together the skills needs of an industry with the regener- ation and industrial needs of a wider area. Blossom: It connects with supporting a gap in manufacturing skills across he UK. We recognised the po get pushed out of the market i for growing networks at a loca ential for small-scale manufacturing in the UK and the potential for innovative production and cross-sector collabora- ion. We connect early-stage designers with makers who might otherwise f they haven’t got the skills required to pro- duce the orders that they need to. Poplar Works recognises this potential ised level which can, with partner support, ead to a cluster and further cross-pollination and growth of the ecosystem. " class="figure-slide-image" src="https://figures.academia-assets.com/68709563/figure_017.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/38658786/figure-18-business-of-fashion-textiles-technology-mapping"><img alt="[110] https://www.arts.ac.uk/colleges/london-college-of-fashion [111] https://fashion-enterprise.com/ The next section discusses the opportunities facing the fast-changing UK FTT sector and how SMEs can harness these. " class="figure-slide-image" src="https://figures.academia-assets.com/68709563/figure_018.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/38658797/figure-13-although-asia-and-north-america-are-considered"><img alt="Although Asia and North America are considered competitor regions, UK SMEs are confident about the innovation levels of FTT businesses in the UK and Europe. Resilience to competition is linked to the UK’s strong fashion and textiles heritage, reputation for novelty and experimen- tation, and the ability to capitalise on the main opportunity areas. Figure 13. What are the competitor regions for your business in the next three to five years? " class="figure-slide-image" src="https://figures.academia-assets.com/68709563/figure_020.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/38658811/figure-21-business-of-fashion-textiles-technology-mapping"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/68709563/figure_021.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/38658822/figure-22-business-of-fashion-textiles-technology-mapping"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/68709563/figure_022.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/38658834/figure-14-how-do-you-access-information-that-may-result-in"><img alt="Figure 14. How do you access information that may result in new ideas and innovation? " class="figure-slide-image" src="https://figures.academia-assets.com/68709563/figure_023.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/38658848/figure-24-business-of-fashion-textiles-technology-mapping"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/68709563/figure_024.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/38658857/figure-25-as-seen-in-the-rise-of-second-hand-re-selling"><img alt="flair-atelier.com Online and mobile shopping is perceived as an essential component in driving forward a circular and sustainable FTT ecosystem. Online shop- ping is an opportunity to cut back on physical resources and energy costs. Online business models are also perceived as more effective plat- forms for raising consciousness around sustainable apparel and diver- sity, as seen in the rise of second-hand re-selling platforms, and fashion and diversity awareness campaigns during the pandemic. Despite these advantages, the effect of the surge in online shopping during the pan- demic has not been scientifically measured in terms of actual impacts. Factors such as the increasing number of deliveries and returns need to be compared to the previous norms of high-street retail in relation to con- tributions to greenhouse gas emissions, plastic waste, and whether these items are ending up in landfill after a couple of wears. Marianna: At the moment, | believe customers enjoy the experience of being in a store or a mix of digital and physical shopping. From a future perspective, a digital-only service could be exciting — there would be less waste, and it would be cost-effective. | believe waste must be talked about from both sides: customers need to buy less, but businesses also need to produce less. We want more fashion businesses to adopt customisation technology. Therefore, we are in the process of experimenting and develop- ing a B2B platform, which Flair Atelier can gain additional revenue from, as well as helping the fashion industry to become more sustainable. " class="figure-slide-image" src="https://figures.academia-assets.com/68709563/figure_025.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/38658869/figure-26-the-wholesale-model-is-massively-flawed-in-terms"><img alt="‘The wholesale model is massively flawed in terms of retaining exclusivity with pressure to compete on cost. Everything becomes homogenised. It was a conscious decision to follow a business model on heritage and sus- tainability, not volume.’ Clare Campbell, founder, Prickly Thistle Scotland " class="figure-slide-image" src="https://figures.academia-assets.com/68709563/figure_026.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/38658875/figure-27-business-of-fashion-textiles-technology-mapping"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/68709563/figure_027.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/38658891/figure-28-carmen-hijosa-is-the-founder-of-ananas-anam-the"><img alt="Carmen Hijosa is the founder of Ananas Anam, the maker of Pifiatex®, an innovative natural textile made from pineapple leaf fibre. (c) Ananas Anam " class="figure-slide-image" src="https://figures.academia-assets.com/68709563/figure_028.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/38658902/table-1-global-fashion-clusters-source-adapted-from-yun-and"><img alt="Global Fashion Clusters. Source: Adapted from Yun and Lee, 2019 " class="figure-slide-image" src="https://figures.academia-assets.com/68709563/table_001.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/38658915/figure-7-how-important-is-the-location-of-your-business"><img alt="Figure 7: How Important is the location of your business based on the following factors? The need for affordable workspace has led to the growing importance of workspace providers as essential intermediaries within the FTT eco- system. Innovative workspace providers included SMEs that were able to capitalise on landlord and property developer rent subsidies under Section 106 of the Town & Country Planning Act 199071. This enables workspace providers to grow their business by attracting a broader range of SMEs through affordable rents, as well as facilitating community, business, research and experimental creative collaboration opportunities exemplified by Hajni Semsei, director of Arbeit Studios: " class="figure-slide-image" src="https://figures.academia-assets.com/68709563/table_002.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/38658923/figure-8-how-important-are-the-following-collaboration-and"><img alt="Figure 8: How important are the following collaboration and knowledge exchange opportunities for your business in the next three to five years? In terms of knowledge and network spillovers, the BFTT survey illustrates that collaboration (see Figure 8 above) with educational establishments — universities, colleges and training providers — (average mean score 3.8) is of high importance for the future of the " class="figure-slide-image" src="https://figures.academia-assets.com/68709563/table_003.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/38658937/figure-10-how-important-are-the-following-business"><img alt="Figure 10. How important are the following business development activities for your business in the next three to five years? FTT SMEs perceive current R&D funding schemes as inaccessible. The BFTT consultation shows SMEs that are successful with busi- ness and innovation grants tend to have interdisciplinary teams, with CEOs and founders who have scientific and technical back- aroiunde and aynertice For examnle they might have nrevioiiely worke: " class="figure-slide-image" src="https://figures.academia-assets.com/68709563/table_004.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/38658946/figure-12-these-growth-areas-include-investment-see-above"><img alt="These growth areas include R&D investment (See Figure 12, above) into sustainability-led activities such as fair trade (average mean score 4.4); increasing volume, scaling activities and markets (average mean score 4.2); improving manufacturing quality (average mean score 4.0); investing in marketing and showcasing (average mean score 4.0); investing in new materials and textiles (average mean score 3.8); reducing time to mar- ket (average mean score 3.5); and introducing or improving the use of Al (average mean score 3.1). These growth areas are discussed further under the four main R&D opportunities: circular and sustainable business models; buying locally made products and brands; loca- tion-based social media and marketing; and reimagining online and mobile shopping. Figure 12. How important are the following R&D goals for the growth of your business inthe next three to five years? " class="figure-slide-image" src="https://figures.academia-assets.com/68709563/table_005.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/38658969/table-6-business-of-fashion-textiles-technology-mapping-the"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/68709563/table_006.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/38658977/table-7-business-of-fashion-textiles-technology-mapping-the"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/68709563/table_007.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/38658990/table-8-business-of-fashion-textiles-technology-mapping-the"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/68709563/table_008.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/38659009/table-9-business-of-fashion-textiles-technology-mapping-the"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/68709563/table_009.jpg" width="114" height="68" /></a></figure></div><div class="next-slide-container js-next-button-container"><button aria-label="Next" class="carousel-navigation-button js-profile-work-39164100-figures-next"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">arrow_forward_ios</span></button></div></div></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="65ad9c11c557e50f109d4b6e909a5b20" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":68709563,"asset_id":39164100,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/68709563/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="39164100"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="39164100"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 39164100; 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This should strongly influence both how the sector is viewed as an economic resource of national importance and the future allocation of the R\u0026D it needs to access in order to thrive — this research also provides initial insights for progress post-Covid.\n\nFashion is estimated to contribute £35 billion to the British economy every year, while £74 billion+ is spent by UK consumers on wider apparel, clothing accessories, household textiles and carpets, accounting for 890,000 people employed across the UK, and £9 billion of export.\n\nThe report offers recommendations for the growth of the UK FTT related economy and in particular SMEs. In the words of Professor Christopher Smith, Executive Chair of the Arts and Humanities Research Council, and Professor Andrew Chitty, Challenge Director at Creative Industries, UK Research and Innovation, joint authors of a foreward:\n\nThe identification of opportunities for R\u0026D programmes to support fashion’s transition to a more sustainable future provides both leadership for the sector and inspiration to others seeking a route to a more circular economy. As we build the case for long-term support for research and innovation in the Creative Industries this report shows very clearly why Fashion, Textiles and Technology must be at the heart of that mission.\n\nThe authors of the report are:\n\nProfessor Jane Harris, Director of the Business of Fashion, Textiles and Technology (BFTT) Creative R\u0026D Partnership led by the University of the Arts London (UAL), and Professor of Digital Design and Innovation.\n\nDr Lipi Begum, BFTT Postdoctoral Research Fellow, UAL, and Senior Lecturer in Fashion Management.\n\nDr Alessandra Vecchi, BFTT Co-Investigator, UAL, and Reader in International Fashion Business Research.\n\n","publication_date":{"day":null,"month":null,"year":2021,"errors":{}}},"translated_abstract":"This initial report, Mapping the UK Fashion, Textiles and Technology Ecosystem, aims to identify opportunities for investment, research and development, business growth, job creation and tackle skills gaps in the UK fashion, textiles and technology (FTT) ecosystem.\n\nBased on a survey consultation that engaged over 2,400 small, medium and micro businesses (SMEs) and over 100 stakeholders and intermediaries, including industry specialists, trade bodies and workspace providers, the report is one of the most extensive baseline studies to date on FTT SMEs and the first comprehensive insight into the UK FTT ecosystem leading up to March 2020, pre-Covid-19.\n\nThis survey has been instrumental in gaining an in-depth understanding of the polycentric nature of the sector and its geographical spread. This should strongly influence both how the sector is viewed as an economic resource of national importance and the future allocation of the R\u0026D it needs to access in order to thrive — this research also provides initial insights for progress post-Covid.\n\nFashion is estimated to contribute £35 billion to the British economy every year, while £74 billion+ is spent by UK consumers on wider apparel, clothing accessories, household textiles and carpets, accounting for 890,000 people employed across the UK, and £9 billion of export.\n\nThe report offers recommendations for the growth of the UK FTT related economy and in particular SMEs. In the words of Professor Christopher Smith, Executive Chair of the Arts and Humanities Research Council, and Professor Andrew Chitty, Challenge Director at Creative Industries, UK Research and Innovation, joint authors of a foreward:\n\nThe identification of opportunities for R\u0026D programmes to support fashion’s transition to a more sustainable future provides both leadership for the sector and inspiration to others seeking a route to a more circular economy. 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This should strongly influence both how the sector is viewed as an economic resource of national importance and the future allocation of the R\u0026D it needs to access in order to thrive — this research also provides initial insights for progress post-Covid.\n\nFashion is estimated to contribute £35 billion to the British economy every year, while £74 billion+ is spent by UK consumers on wider apparel, clothing accessories, household textiles and carpets, accounting for 890,000 people employed across the UK, and £9 billion of export.\n\nThe report offers recommendations for the growth of the UK FTT related economy and in particular SMEs. 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Create international awareness of the textiles and fabrics of Bangladesh. Create awareness of the art in as a fashion textile, and in so doing, create strategic partnerships and alliances with interested stakeholders to achieve our mutual objectives. The Muslin Trust is managed by a group of volunteer trustees.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="76e0118b77d66b51a64ce965c0ae412f" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":61679150,"asset_id":41502094,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/61679150/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="41502094"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="41502094"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 41502094; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=41502094]").text(description); $(".js-view-count[data-work-id=41502094]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 41502094; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='41502094']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "76e0118b77d66b51a64ce965c0ae412f" } } $('.js-work-strip[data-work-id=41502094]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":41502094,"title":"Co-Founder and Trustee: Muslin Trust","translated_title":"","metadata":{"abstract":"The Muslin Trust is a not-for profit registered charity whose purpose is to: Uplift, sustain, develop and preserve the traditional skills and art forms of weaving in Bangladesh. Create international awareness of the textiles and fabrics of Bangladesh. Create awareness of the art in as a fashion textile, and in so doing, create strategic partnerships and alliances with interested stakeholders to achieve our mutual objectives. The Muslin Trust is managed by a group of volunteer trustees. \n\n\n","publication_date":{"day":null,"month":null,"year":2013,"errors":{}}},"translated_abstract":"The Muslin Trust is a not-for profit registered charity whose purpose is to: Uplift, sustain, develop and preserve the traditional skills and art forms of weaving in Bangladesh. Create international awareness of the textiles and fabrics of Bangladesh. Create awareness of the art in as a fashion textile, and in so doing, create strategic partnerships and alliances with interested stakeholders to achieve our mutual objectives. 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Create international awareness of the textiles and fabrics of Bangladesh. Create awareness of the art in as a fashion textile, and in so doing, create strategic partnerships and alliances with interested stakeholders to achieve our mutual objectives. 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Afghanistan, Bangladesh, Bhutan, India, Maldives, Nepal, Pakistan and Sri Lanka have all been producing a market of confident young fashion consumers.<br />This book explores South Asian youth cultures and fashion across this region and its diasporas from a transnational perspective, revealing the changing landscapes of contemporary South Asian fashion.<br />Through visual and textual analysis of film, photography and digital cultures, as well as ethnographic fieldwork, the book looks at how gender, sexuality, class, the media and faith intersect. It challenges tendencies to homogenise the region's diverse cultural modernity by establishing the heterogenous nature of South Asia and its youth cultures.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="060f6e2176dfe8663a699ef667f22bd2" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":57084100,"asset_id":37133546,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/57084100/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="37133546"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="37133546"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 37133546; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=37133546]").text(description); $(".js-view-count[data-work-id=37133546]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 37133546; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='37133546']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "060f6e2176dfe8663a699ef667f22bd2" } } $('.js-work-strip[data-work-id=37133546]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":37133546,"title":"Styling South Asian Youth Cultures: Fashion, Media and Society","translated_title":"","metadata":{"abstract":"For South Asia, fashion and consumption have come to play an increasingly important role in the lives of young people and in the formation of youth cultures. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-37133546-figures'); } }); </script> </div><div class="profile--tab_content_container js-tab-pane tab-pane" data-section-id="5848067" id="bookchapters"><div class="js-work-strip profile--work_container" data-work-id="42168826"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/42168826/Chapter_2_Beyond_the_creative_class_mapping_the_collaborative_economy_of_Bangladeshi_creative_industries_Case_study_of_Oitij_jo"><img alt="Research paper thumbnail of Chapter 2: Beyond the creative class, mapping the collaborative economy of Bangladeshi creative industries: Case study of Oitij-jo." class="work-thumbnail" src="https://attachments.academia-assets.com/64228012/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/42168826/Chapter_2_Beyond_the_creative_class_mapping_the_collaborative_economy_of_Bangladeshi_creative_industries_Case_study_of_Oitij_jo">Chapter 2: Beyond the creative class, mapping the collaborative economy of Bangladeshi creative industries: Case study of Oitij-jo.</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://ucl.academia.edu/DrLipiBegum">Dr Lipi Begum</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://independent.academia.edu/maheranjum">maher anjum</a></span></div><div class="wp-workCard_item"><span>South Asian Creative and Cultural Industries</span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">It is widely acknowledged that creativity is emerging as one of the most important sources of eco...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">It is widely acknowledged that creativity is emerging as one of the most important sources of economic growth. This book investigates the varied forms of the creative and cultural industries including the arts, culture, film, design and other related fields.<br /><br />In this book, the chapters showcase new research insights into the recent growth of the creative and cultural industries, which can be located across the intersection of the arts and humanities, business studies and social science disciplines. The contributors provide rich empirical insights about the creative and cultural industries of, related to and connected with South Asia, both from across its diasporas and from around the world. This includes a variety of illustrative examples of creativity from the Bollywood film industry, to the growth of the creative sector in countries like the UK, India and Bangladesh, making the book an engaging read for anyone who is interested to learn more.<br /><br />Using contemporary and fresh examples from South Asia and its diasporas, South Asian Creative and Cultural Industries offers new research perspectives on a growing and important region of the world. This book was originally published as a special issue of the South Asian Popular Culture journal.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="00c5c912d64ad19595e0dc95be5981d3" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":64228012,"asset_id":42168826,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/64228012/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="42168826"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="42168826"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 42168826; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=42168826]").text(description); $(".js-view-count[data-work-id=42168826]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 42168826; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='42168826']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "00c5c912d64ad19595e0dc95be5981d3" } } $('.js-work-strip[data-work-id=42168826]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":42168826,"title":"Chapter 2: Beyond the creative class, mapping the collaborative economy of Bangladeshi creative industries: Case study of Oitij-jo.","translated_title":"","metadata":{"doi":"10.1080/14746689.2017.1294802","volume":"1","abstract":"It is widely acknowledged that creativity is emerging as one of the most important sources of economic growth. 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This book investigates the varied forms of the creative and cultural industries including the arts, culture, film, design and other related fields.\n\nIn this book, the chapters showcase new research insights into the recent growth of the creative and cultural industries, which can be located across the intersection of the arts and humanities, business studies and social science disciplines. The contributors provide rich empirical insights about the creative and cultural industries of, related to and connected with South Asia, both from across its diasporas and from around the world. 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The chapter includes an outline of the articles in the book and how they contribute to the emerging field of South Asian dress cultures. Paperback, Ebook and Hardback available to order at: <a href="https://www.bloomsbury.com/uk/styling-south-asian-youth-cultures-9781350154070/" rel="nofollow">https://www.bloomsbury.com/uk/styling-south-asian-youth-cultures-9781350154070/</a></span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="39252059"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="39252059"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 39252059; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=39252059]").text(description); $(".js-view-count[data-work-id=39252059]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 39252059; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='39252059']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=39252059]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":39252059,"title":"Style, Fashion and Media in South Asian Youth Cultures","translated_title":"","metadata":{"abstract":"An extended essay discussing the field of style, fashion and media in contemporary South Asian youth cultures. 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London: I.B. Tauris</span><span>, 2018</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="886668de70531d00b4c15f54e2dbb5ba" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":57192787,"asset_id":33881961,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/57192787/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="33881961"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="33881961"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 33881961; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=33881961]").text(description); $(".js-view-count[data-work-id=33881961]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 33881961; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='33881961']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "886668de70531d00b4c15f54e2dbb5ba" } } $('.js-work-strip[data-work-id=33881961]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":33881961,"title":"Bras are not for Burning: the Bra and Young Urban Women in Delhi and Bombay","translated_title":"","metadata":{"ai_abstract":"This book examines the evolving roles of fashion and consumption among young people in South Asia, focusing on how these elements contribute to the formation of diverse youth cultures in countries like India, Bangladesh, and Pakistan. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-33881961-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="28645820"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/28645820/Friendship_Networks_as_a_Mode_of_Survival_and_Activism_in_the_Bangladesh_Ready_Made_Garment_Sector"><img alt="Research paper thumbnail of Friendship Networks as a Mode of Survival and Activism in the Bangladesh Ready-Made-Garment Sector" class="work-thumbnail" src="https://attachments.academia-assets.com/57192721/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/28645820/Friendship_Networks_as_a_Mode_of_Survival_and_Activism_in_the_Bangladesh_Ready_Made_Garment_Sector">Friendship Networks as a Mode of Survival and Activism in the Bangladesh Ready-Made-Garment Sector</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://ucl.academia.edu/DrLipiBegum">Dr Lipi Begum</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://independent.academia.edu/maheranjum">maher anjum</a></span></div><div class="wp-workCard_item"><span>Friendship as Social Justice Activism, Critical Solidarities in a Global Perspective</span><span>, 2018</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Chapter Nineteen in: Friendship as Social Justice Activism, Critical Solidarities in a Global Per...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Chapter Nineteen in: Friendship as Social Justice Activism, Critical Solidarities in a Global Perspective (2018). University of Chicago Press/Seagull India. <br /> <br />Through in-depth interviews, this conversational essay documents the unique stories of Alia, Mussamat, Jessmin, three garment factory workers and members of the National Federation of Garment Workers (NFGW) in Dhaka, Bangladesh. These individuals share their anecdotal journeys of friendship and engagement with social change to make the ready-made-garment sector in Bangladesh sustainable in the aftermath of the Rana Plaza (April 2013) and Tazreen (November 2012) Ltd factory disasters. Through stories of friendship networks and resilience, this piece draws attention to the paradox of how the ready-made-garment sector in Bangladesh empowers workers as they speak up against global market forces of uncertain work conditions and low paid production to make it a safer, sustainable and fairer place to work. <br /> <br />This anthology is the first of its kind in bringing together academics and activists in conversations about friendship, love and desire as kinetics for social justice movements. The contributors come from across the globe and are involved in diverse movements such as LGBTQ rights; intimate-partner violence; recovery from addiction; and housing, migrant, labour and environmental justice activism. Each narrates how living and organizing within circles of friendship offer new ways of dreaming and struggling for social justice. Recent scholarship in different disciplinary fields as well as activist literature have brought attention to the political possibilities within friendship. <br /> <br />The essays, memoirs, poems and artwork in this volume address these political possibilities within the context of gender, sexuality and economic justice movements - Sunandini Banerjee</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="a14f392cdc5efd7c5cc4ae2f32ea7bc6" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":57192721,"asset_id":28645820,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/57192721/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="28645820"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="28645820"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 28645820; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=28645820]").text(description); $(".js-view-count[data-work-id=28645820]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 28645820; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='28645820']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "a14f392cdc5efd7c5cc4ae2f32ea7bc6" } } $('.js-work-strip[data-work-id=28645820]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":28645820,"title":"Friendship Networks as a Mode of Survival and Activism in the Bangladesh Ready-Made-Garment Sector","translated_title":"","metadata":{"abstract":"Chapter Nineteen in: Friendship as Social Justice Activism, Critical Solidarities in a Global Perspective (2018). 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Through stories of friendship networks and resilience, this piece draws attention to the paradox of how the ready-made-garment sector in Bangladesh empowers workers as they speak up against global market forces of uncertain work conditions and low paid production to make it a safer, sustainable and fairer place to work.\r\n\r\nThis anthology is the first of its kind in bringing together academics and activists in conversations about friendship, love and desire as kinetics for social justice movements. The contributors come from across the globe and are involved in diverse movements such as LGBTQ rights; intimate-partner violence; recovery from addiction; and housing, migrant, labour and environmental justice activism. Each narrates how living and organizing within circles of friendship offer new ways of dreaming and struggling for social justice. 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The article articulates the ways in which middle-class women’s social realities are shaped by historical, colonial and nationalist<br />ideologies of modernization, constructed and mediated<br />through moral codes of dressing. By drawing upon original<br />and contemporary empirical narratives from the urban<br />spaces of Delhi and Mumbai, we emphasise how everyday<br />sartorial choices, in relation to particularly the bra and lingerie, can reveal the nuanced ways in which Urban Indian<br />Professional Women (UIPW) seek to understand, negotiate,<br />and resist patriarchal power. Our findings shed light on<br />conflicting and contradictory spatial experiences, where<br />some women internalize and negotiate moral codes of<br />dressing, out of fear, and others who transgress are subject<br />to sanctions. Given the paucity of scholarly literature in this<br />area, the article makes an important theoretical and empirical contribution with its focus on postcoloniality and everyday discursive material spaces of gendered and sexualized dress practices. It argues for the consciousness raising of everyday urban geographies of dress that reveal complicated structures of power that are often deemed hidden.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="166b9ada3357b7dc7f58d43d54d77933" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":59911411,"asset_id":39733335,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/59911411/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="39733335"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="39733335"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 39733335; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=39733335]").text(description); $(".js-view-count[data-work-id=39733335]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 39733335; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='39733335']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "166b9ada3357b7dc7f58d43d54d77933" } } $('.js-work-strip[data-work-id=39733335]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":39733335,"title":"Crossing Boundaries: Bras, Lingerie and Rape Myths in Postcolonial Urban Middle-class India","translated_title":"","metadata":{"doi":"10.1080/0966369X.2019.1567470","abstract":"With the processes of modernization, urbanization and the\nentry of women in the formal labour market in Indian\nmetropolitan spaces, this article examines how the modern\nmiddle-class woman’s sartorial choices become enmeshed\nin popular rape myths (false beliefs) that serve to blame\nher for the wearing of western clothing. The article articulates the ways in which middle-class women’s social realities are shaped by historical, colonial and nationalist\nideologies of modernization, constructed and mediated\nthrough moral codes of dressing. By drawing upon original\nand contemporary empirical narratives from the urban\nspaces of Delhi and Mumbai, we emphasise how everyday\nsartorial choices, in relation to particularly the bra and lingerie, can reveal the nuanced ways in which Urban Indian\nProfessional Women (UIPW) seek to understand, negotiate,\nand resist patriarchal power. Our findings shed light on\nconflicting and contradictory spatial experiences, where\nsome women internalize and negotiate moral codes of\ndressing, out of fear, and others who transgress are subject\nto sanctions. 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It argues for the consciousness raising of everyday urban geographies of dress that reveal complicated structures of power that are often deemed hidden.","internal_url":"https://www.academia.edu/39733335/Crossing_Boundaries_Bras_Lingerie_and_Rape_Myths_in_Postcolonial_Urban_Middle_class_India","translated_internal_url":"","created_at":"2019-07-02T01:27:54.312-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":4611397,"coauthors_can_edit":true,"document_type":"other","co_author_tags":[{"id":32780053,"work_id":39733335,"tagging_user_id":4611397,"tagged_user_id":93714,"co_author_invite_id":null,"email":"r***n@rhul.ac.uk","affiliation":"Royal Holloway, University of London","display_order":1,"name":"Ravinder Barn","title":"Crossing Boundaries: Bras, Lingerie and Rape Myths in Postcolonial Urban Middle-class India"}],"downloadable_attachments":[{"id":59911411,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/59911411/thumbnails/1.jpg","file_name":"Preprint_version_GPC_LB_1920190702-5756-11a7jp4.pdf","download_url":"https://www.academia.edu/attachments/59911411/download_file","bulk_download_file_name":"Crossing_Boundaries_Bras_Lingerie_and_Ra.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/59911411/Preprint_version_GPC_LB_1920190702-5756-11a7jp4-libre.pdf?1562057476=\u0026response-content-disposition=attachment%3B+filename%3DCrossing_Boundaries_Bras_Lingerie_and_Ra.pdf\u0026Expires=1744338539\u0026Signature=ZeisM1wQnTD8vW20pE48cSB-9n2JNbTWpXIJt1HEXnhjM7PudaseSzSO~2Dm6cBBpQ2Hxk~oc9o9bhJaNHvltba14jjzuLq9MjIcioy-ocZK9~YI5bGGz6zWynr~dUtJAdYk7AJz1HRVSnxhLnDL2SOqK8mQdZVeikP6FgTvr5~rqBXLeWCZTK5SrThUgse9-fIxNZ3swCb83ZbdUP3vVVGJ3q0huM8N-6GmzCwgFMDuFgbDfW9tYUxoPOANY4CIxh34oToW-0W3HXfIE5pmQfYEMiQFmF5kD8a9varDZFT3TfYddt5QnxNGnranq~5RV0Kr13rb961aXsbd801adA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Crossing_Boundaries_Bras_Lingerie_and_Rape_Myths_in_Postcolonial_Urban_Middle_class_India","translated_slug":"","page_count":23,"language":"en","content_type":"Work","summary":"With the processes of modernization, urbanization and the\nentry of women in the formal labour market in Indian\nmetropolitan spaces, this article examines how the modern\nmiddle-class woman’s sartorial choices become enmeshed\nin popular rape myths (false beliefs) that serve to blame\nher for the wearing of western clothing. The article articulates the ways in which middle-class women’s social realities are shaped by historical, colonial and nationalist\nideologies of modernization, constructed and mediated\nthrough moral codes of dressing. By drawing upon original\nand contemporary empirical narratives from the urban\nspaces of Delhi and Mumbai, we emphasise how everyday\nsartorial choices, in relation to particularly the bra and lingerie, can reveal the nuanced ways in which Urban Indian\nProfessional Women (UIPW) seek to understand, negotiate,\nand resist patriarchal power. Our findings shed light on\nconflicting and contradictory spatial experiences, where\nsome women internalize and negotiate moral codes of\ndressing, out of fear, and others who transgress are subject\nto sanctions. Given the paucity of scholarly literature in this\narea, the article makes an important theoretical and empirical contribution with its focus on postcoloniality and everyday discursive material spaces of gendered and sexualized dress practices. It argues for the consciousness raising of everyday urban geographies of dress that reveal complicated structures of power that are often deemed hidden.","impression_tracking_id":null,"owner":{"id":4611397,"first_name":"Dr Lipi","middle_initials":null,"last_name":"Begum","page_name":"DrLipiBegum","domain_name":"ucl","created_at":"2013-06-20T23:28:17.040-07:00","display_name":"Dr Lipi Begum","url":"https://ucl.academia.edu/DrLipiBegum"},"attachments":[{"id":59911411,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/59911411/thumbnails/1.jpg","file_name":"Preprint_version_GPC_LB_1920190702-5756-11a7jp4.pdf","download_url":"https://www.academia.edu/attachments/59911411/download_file","bulk_download_file_name":"Crossing_Boundaries_Bras_Lingerie_and_Ra.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/59911411/Preprint_version_GPC_LB_1920190702-5756-11a7jp4-libre.pdf?1562057476=\u0026response-content-disposition=attachment%3B+filename%3DCrossing_Boundaries_Bras_Lingerie_and_Ra.pdf\u0026Expires=1744338539\u0026Signature=ZeisM1wQnTD8vW20pE48cSB-9n2JNbTWpXIJt1HEXnhjM7PudaseSzSO~2Dm6cBBpQ2Hxk~oc9o9bhJaNHvltba14jjzuLq9MjIcioy-ocZK9~YI5bGGz6zWynr~dUtJAdYk7AJz1HRVSnxhLnDL2SOqK8mQdZVeikP6FgTvr5~rqBXLeWCZTK5SrThUgse9-fIxNZ3swCb83ZbdUP3vVVGJ3q0huM8N-6GmzCwgFMDuFgbDfW9tYUxoPOANY4CIxh34oToW-0W3HXfIE5pmQfYEMiQFmF5kD8a9varDZFT3TfYddt5QnxNGnranq~5RV0Kr13rb961aXsbd801adA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":261,"name":"Geography","url":"https://www.academia.edu/Documents/in/Geography"},{"id":1031,"name":"Southeast Asian Studies","url":"https://www.academia.edu/Documents/in/Southeast_Asian_Studies"},{"id":1433,"name":"Fashion Theory","url":"https://www.academia.edu/Documents/in/Fashion_Theory"},{"id":12760,"name":"Postcolonial Feminism","url":"https://www.academia.edu/Documents/in/Postcolonial_Feminism"},{"id":21622,"name":"Dress and identity","url":"https://www.academia.edu/Documents/in/Dress_and_identity"},{"id":43838,"name":"India","url":"https://www.academia.edu/Documents/in/India"},{"id":385830,"name":"Lingerie","url":"https://www.academia.edu/Documents/in/Lingerie"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-39733335-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="39347210"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/39347210/Special_Section_South_Asian_Fashion_Introduction_Continuing_the_Dialogue_on_South_Asian_Fashion_Studies"><img alt="Research paper thumbnail of Special Section: South Asian Fashion Introduction: Continuing the Dialogue on South Asian Fashion Studies" class="work-thumbnail" src="https://attachments.academia-assets.com/59488277/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/39347210/Special_Section_South_Asian_Fashion_Introduction_Continuing_the_Dialogue_on_South_Asian_Fashion_Studies">Special Section: South Asian Fashion Introduction: Continuing the Dialogue on South Asian Fashion Studies</a></div><div class="wp-workCard_item"><span>International Journal of Fashion Studies</span><span>, 2018</span></div><div class="wp-workCard_item"><div class="carousel-container carousel-container--sm" id="profile-work-39347210-figures"><div class="prev-slide-container js-prev-button-container"><button aria-label="Previous" class="carousel-navigation-button js-profile-work-39347210-figures-prev"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">arrow_back_ios</span></button></div><div class="slides-container js-slides-container"><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/12555947/figure-1-special-section-south-asian-fashion-introduction"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/59488277/figure_001.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/12555957/table-1-special-section-south-asian-fashion-introduction"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/59488277/table_001.jpg" width="114" height="68" /></a></figure></div><div class="next-slide-container js-next-button-container"><button aria-label="Next" class="carousel-navigation-button js-profile-work-39347210-figures-next"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">arrow_forward_ios</span></button></div></div></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="7be6633ab1c5b3ac55eefdf961969bcd" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":59488277,"asset_id":39347210,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/59488277/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="39347210"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="39347210"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 39347210; 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It emphasizes the contributions of various scholars and their works, including Sonia Ashmore's exploration of the jamdani weaving community in Bangladesh and Mirna Guha's insights into the sartorial norms affecting female sex workers in Kolkata. The overarching aim is to examine how historical and social contexts shape contemporary fashion practices and to advocate for a more nuanced understanding of the interplay between luxury, craftsmanship, and identity in South Asian fashion.","publication_date":{"day":null,"month":null,"year":2018,"errors":{}},"publication_name":"International Journal of Fashion Studies"},"translated_abstract":null,"internal_url":"https://www.academia.edu/39347210/Special_Section_South_Asian_Fashion_Introduction_Continuing_the_Dialogue_on_South_Asian_Fashion_Studies","translated_internal_url":"","created_at":"2019-06-02T10:04:10.702-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":4611397,"coauthors_can_edit":true,"document_type":"other","co_author_tags":[],"downloadable_attachments":[{"id":59488277,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/59488277/thumbnails/1.jpg","file_name":"Introduction-_Continuing_the_dialogue_on_South_Asian_fashion_studies_5.2_LB_Open_Access_Version20190602-23393-1nzk4pj.pdf","download_url":"https://www.academia.edu/attachments/59488277/download_file","bulk_download_file_name":"Special_Section_South_Asian_Fashion_Intr.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/59488277/Introduction-_Continuing_the_dialogue_on_South_Asian_fashion_studies_5.2_LB_Open_Access_Version20190602-23393-1nzk4pj-libre.pdf?1559495319=\u0026response-content-disposition=attachment%3B+filename%3DSpecial_Section_South_Asian_Fashion_Intr.pdf\u0026Expires=1744338539\u0026Signature=YZy4W~Ysobepu6eseWfFMqae72ylmV5ldUfJSktjUbLGZSsfMxS0w7S6mxMeIDqCGJNEK-SEpI~aG3s7TgUHZ5oEt1ySJA9AMAtr9malONn4MI2SIsgZ4G13Wgc9nIrAZuAwqp3dC7Sjvokm7A9XvGzMGecAijEoXTiQujOh24Oah4gMZ14-pyHAsJHbAsIrfAaQTAD7S6uDAZ0zeN94IDNA01uIaFz3gwrvd9U0YKMn-6XLlgMWNBt4dIEul51TzvZiLckA~Y000~Bzb07I97npsJuLVxP3TFNM3S7xg9cPiDyvkZecGZ5F8h1O5RQ50VP2VkDWEB0Zd-ingnE37Q__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Special_Section_South_Asian_Fashion_Introduction_Continuing_the_Dialogue_on_South_Asian_Fashion_Studies","translated_slug":"","page_count":7,"language":"en","content_type":"Work","summary":null,"impression_tracking_id":null,"owner":{"id":4611397,"first_name":"Dr Lipi","middle_initials":null,"last_name":"Begum","page_name":"DrLipiBegum","domain_name":"ucl","created_at":"2013-06-20T23:28:17.040-07:00","display_name":"Dr Lipi Begum","url":"https://ucl.academia.edu/DrLipiBegum"},"attachments":[{"id":59488277,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/59488277/thumbnails/1.jpg","file_name":"Introduction-_Continuing_the_dialogue_on_South_Asian_fashion_studies_5.2_LB_Open_Access_Version20190602-23393-1nzk4pj.pdf","download_url":"https://www.academia.edu/attachments/59488277/download_file","bulk_download_file_name":"Special_Section_South_Asian_Fashion_Intr.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/59488277/Introduction-_Continuing_the_dialogue_on_South_Asian_fashion_studies_5.2_LB_Open_Access_Version20190602-23393-1nzk4pj-libre.pdf?1559495319=\u0026response-content-disposition=attachment%3B+filename%3DSpecial_Section_South_Asian_Fashion_Intr.pdf\u0026Expires=1744338539\u0026Signature=YZy4W~Ysobepu6eseWfFMqae72ylmV5ldUfJSktjUbLGZSsfMxS0w7S6mxMeIDqCGJNEK-SEpI~aG3s7TgUHZ5oEt1ySJA9AMAtr9malONn4MI2SIsgZ4G13Wgc9nIrAZuAwqp3dC7Sjvokm7A9XvGzMGecAijEoXTiQujOh24Oah4gMZ14-pyHAsJHbAsIrfAaQTAD7S6uDAZ0zeN94IDNA01uIaFz3gwrvd9U0YKMn-6XLlgMWNBt4dIEul51TzvZiLckA~Y000~Bzb07I97npsJuLVxP3TFNM3S7xg9cPiDyvkZecGZ5F8h1O5RQ50VP2VkDWEB0Zd-ingnE37Q__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":3558,"name":"South Asian Studies","url":"https://www.academia.edu/Documents/in/South_Asian_Studies"},{"id":50968,"name":"Fashion Studies","url":"https://www.academia.edu/Documents/in/Fashion_Studies"},{"id":749206,"name":"International History of Fashion","url":"https://www.academia.edu/Documents/in/International_History_of_Fashion"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (true) { Aedu.setUpFigureCarousel('profile-work-39347210-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="38326595"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/38326595/Neorealism_the_Bra_and_the_New_Indian_Woman_in_Satyajit_Ray_s_The_Big_City"><img alt="Research paper thumbnail of Neorealism, the Bra and the New Indian Woman in Satyajit Ray’s The Big City" class="work-thumbnail" src="https://attachments.academia-assets.com/59003877/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/38326595/Neorealism_the_Bra_and_the_New_Indian_Woman_in_Satyajit_Ray_s_The_Big_City">Neorealism, the Bra and the New Indian Woman in Satyajit Ray’s The Big City</a></div><div class="wp-workCard_item"><span>Fashion Theory</span><span>, 2019</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Through the filmic lens of West Bengali director Satyajit Ray’s masterpiece The Big City (Mahanag...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Through the filmic lens of West Bengali director Satyajit Ray’s masterpiece The Big City (Mahanagar 1963), this article focuses on the symbolic meaning of the bra in postcolonial India. It reveals the ways in which the semi-hidden bra in the film functions as a contested site of patriarchal Indian modernity versus Euro-Western modernity and, in the style of neorealist cinema, a utopia of postcolonial and postnational feminine agency. Through textual analysis, the article delves into the influences of Italian neorealist cinema on Ray’s aesthetic choices and compares power, dress and femininity across western and non-western contexts. It articulates cultural similarities and differences and how dream-like cinematic narratives of everyday practices of power dressing provide a window into neoliberal performativity and utopian ambitions for feminine agency during periods of modernization and change.</span></div><div class="wp-workCard_item"><div class="carousel-container carousel-container--sm" id="profile-work-38326595-figures"><div class="prev-slide-container js-prev-button-container"><button aria-label="Previous" class="carousel-navigation-button js-profile-work-38326595-figures-prev"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">arrow_back_ios</span></button></div><div class="slides-container js-slides-container"><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/40907062/figure-1-abstract-dr-lipi-begum-is-lecturer-in-fashion"><img alt="Abstract Dr. Lipi Begum is Lecturer in Fashion Management. She is co-editor of the book Styling South Asian Youth Cultures: Fashion Media and Society (.B Tauris 2018) and Open Space and Reviews Editor for the International Journal of Fashion Studies (Intellect UK). Through the filmic lens of West Bengali director Satyajit Ray’s master- piece The Big City (Mahanagar 1963), this article focuses on the sym- bolic meaning of the bra in postcolonial India. It reveals the ways in which the semi-hidden bra in the film functions as a contested site of patriarchal Indian modernity versus Euro-Western modernity and, in the style of neorealist cinema, a utopia of postcolonial and postnational feminine agency. Through textual analysis, the article delves into the influences of Italian neorealist cinema on Ray’s aesthetic choices and compares power, dress and femininity across western and non-western contexts. It articulates cultural similarities and differences and how patriarchal Indian modernity versus Euro-Western modernity and, in the " class="figure-slide-image" src="https://figures.academia-assets.com/59003877/figure_001.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/40907072/figure-2-neorealism-the-bra-and-the-new-indian-woman-in"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/59003877/figure_002.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/40907080/figure-3-neorealism-the-bra-and-the-new-indian-woman-in"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/59003877/figure_003.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/40907081/figure-4-in-the-final-scene-arati-is-seen-in-rage-walking"><img alt="In the final scene, Arati is seen in a rage, walking into Mr. Himangshu’s office demanding an explanation and an apology for unfairly dismissing Edith from work. To which Mr. Himangshu replies “you are jeopardizing your own position. Would that Anglo-Indian friend have done the same for you?” Throughout this encounter her bra is on display (see Figure 4, Ray 1963), and this is similar to the previous encounter where she boldly requests a pay raise from Mr. Himangshu. Arati is positioned with her back to the camera. In this scene, attention is drawn to the display of Arati’s white bra under her sheer sari blouse. It is the bra, in this situation, that is instrumentally displayed to symbol- ize a seamless dream-like possibility and construction of Arati’s brazen- ness, determination and courage as a career woman, attractive salesgirl, friend, mother and wife. This is contrary to the reality of Arati’s friend, mother and wife. This is contrary to the reality of Arati’s " class="figure-slide-image" src="https://figures.academia-assets.com/59003877/figure_004.jpg" width="114" height="68" /></a></figure></div><div class="next-slide-container js-next-button-container"><button aria-label="Next" class="carousel-navigation-button js-profile-work-38326595-figures-next"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">arrow_forward_ios</span></button></div></div></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="8d61c1944ee97d11481ef6c14f44ce61" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":59003877,"asset_id":38326595,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/59003877/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="38326595"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="38326595"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 38326595; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=38326595]").text(description); $(".js-view-count[data-work-id=38326595]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 38326595; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='38326595']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "8d61c1944ee97d11481ef6c14f44ce61" } } $('.js-work-strip[data-work-id=38326595]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":38326595,"title":"Neorealism, the Bra and the New Indian Woman in Satyajit Ray’s The Big City","translated_title":"","metadata":{"doi":"10.1080/1362704X.2018.1532730","abstract":"Through the filmic lens of West Bengali director Satyajit Ray’s masterpiece The Big City (Mahanagar 1963), this article focuses on the symbolic meaning of the bra in postcolonial India. It reveals the ways in which the semi-hidden bra in the film functions as a contested site of patriarchal Indian modernity versus Euro-Western modernity and, in the style of neorealist cinema, a utopia of postcolonial and postnational feminine agency. Through textual analysis, the article delves into the influences of Italian neorealist cinema on Ray’s aesthetic choices and compares power, dress and femininity across western and non-western contexts. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (true) { Aedu.setUpFigureCarousel('profile-work-38326595-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="30577827"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/30577827/Beyond_the_Creative_Class_Mapping_the_Collaborative_Economy_of_Bangladeshi_Creative_Industries_Case_study_of_Oitij_jo"><img alt="Research paper thumbnail of Beyond the Creative Class, Mapping the Collaborative Economy of Bangladeshi Creative Industries: Case study of Oitij-jo" class="work-thumbnail" src="https://attachments.academia-assets.com/51998946/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/30577827/Beyond_the_Creative_Class_Mapping_the_Collaborative_Economy_of_Bangladeshi_Creative_Industries_Case_study_of_Oitij_jo">Beyond the Creative Class, Mapping the Collaborative Economy of Bangladeshi Creative Industries: Case study of Oitij-jo</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://ucl.academia.edu/DrLipiBegum">Dr Lipi Begum</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://independent.academia.edu/maheranjum">maher anjum</a></span></div><div class="wp-workCard_item"><span>South Asian Popular Culture Journal</span><span>, 2016</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This paper documents how the British Bangladeshi diaspora in the UK has been collaborating to con...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This paper documents how the British Bangladeshi diaspora in the UK has been collaborating to contribute to the growth of the creative sector in the UK and in Bangladesh. Through case studies from the creative-start-up of Oitij-jo (February 2013) and subsequently the planning of its second project ‘AKHON: Where is Bengal Now’, this paper charts the collaborations between the culture and creative industries of Bengali heritage (film, photography, theatre, dance, music, art, architecture, textiles and fashion) involved in the project between 2013 and 2016. The authors question widely used policy notions of ‘the creative class’ and ‘creative clustering’ and explore the collaborative economy model for the growth of Bangladeshi cultural and creative industries. Using infographics and netnographic interviews, the paper maps out advantages and disadvantages of collaboration linked to digital and non-digital peer-to-peer skills sharing and entrepreneurship. It concludes with the next steps for Oitij-jo and discusses the managerial implications for sustainability of its future projects.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="7389b1676b0f6f5ce61f1b3c6a7d2d95" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":51998946,"asset_id":30577827,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/51998946/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="30577827"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="30577827"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 30577827; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=30577827]").text(description); $(".js-view-count[data-work-id=30577827]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 30577827; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='30577827']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "7389b1676b0f6f5ce61f1b3c6a7d2d95" } } $('.js-work-strip[data-work-id=30577827]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":30577827,"title":"Beyond the Creative Class, Mapping the Collaborative Economy of Bangladeshi Creative Industries: Case study of Oitij-jo","translated_title":"","metadata":{"doi":"10.1080/14746689.2017.1294802","issue":"3","volume":"14","abstract":"This paper documents how the British Bangladeshi diaspora in the UK has been collaborating to contribute to the growth of the creative sector in the UK and in Bangladesh. 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This project was initiated by the not-for-profit social innovation organisation The Muslin Trust and the Outreach Team at the London College of Fashion with funding from Awards for All and Big Lottery Fund England. The project bought together young students (aged between 16 and 18) from diverse communities across London and invited them into LCF’s fashion studios at Mare Street (in east London) to experiment and engage with sustainable fashion and textiles. <br /> <br />Open Access: <a href="https://sparkjournal.arts.ac.uk/index.php/spark/article/view/9/26" rel="nofollow">https://sparkjournal.arts.ac.uk/index.php/spark/article/view/9/26</a></span></div><div class="wp-workCard_item"><div class="carousel-container carousel-container--sm" id="profile-work-21115201-figures"><div class="prev-slide-container js-prev-button-container"><button aria-label="Previous" class="carousel-navigation-button js-profile-work-21115201-figures-prev"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">arrow_back_ios</span></button></div><div class="slides-container js-slides-container"><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/4404635/figure-1-master-weaver-jabbar-in-rupshi-village-known-for"><img alt="Figure 1: Master-weaver Jabbar in Rupshi, a village known for Jamdani (Dhaka, Bangladesh), wshnea ckille wrara nocead dnwin tn him hy hie narante and nrannnarante The project culminated with a reception, held at Mare Street on 14 November 2015, where the students showcased their dresses and portfolios to tutors, friends and parents. Those who took part in the project have continued to pursue their passion for crafts and textiles through work in industry, higher education and research projects. The project also gained coverage in the local press (in Hackney Today and East End Life) and the dresses are due to be showcased again in February 2016, at the Muslin Festival hosted by the National Museum of Dhaka in Bangladesh. " class="figure-slide-image" src="https://figures.academia-assets.com/49021106/figure_001.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/4404643/figure-2-to-create-the-jamdani-weave-jabbar-uses-bamboo"><img alt="Figure 2: To create the Jamdani weave, Jabbar uses a bamboo splinter (as one would a needle) to combine weaving, embroidery and ornamentation. " class="figure-slide-image" src="https://figures.academia-assets.com/49021106/figure_002.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/4404647/figure-4-motifs-are-sewn-between-the-meeting-places-of-the"><img alt="Figure 4: Motifs are sewn between the meeting places of the warp and the weft. Jamdanis are usually woven in soft shades of fine grey cotton, incorporating blue-grey or sometimes with cream-white coloured designs, comprising flowers in ‘bhutidar’ style (set all over) or ‘tircha’ (run diagonally) (Bhatnagar, no date). " class="figure-slide-image" src="https://figures.academia-assets.com/49021106/figure_003.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/4404650/figure-3-the-jamdani-cloths-pattern-motif-was-woven-using"><img alt="Figure 3: The Jamdani cloth’s pattern motif was woven using natural-dyed indigo thread, made on a traditional handloom. " class="figure-slide-image" src="https://figures.academia-assets.com/49021106/figure_004.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/4404652/figure-5-master-weaver-jabbar-displaying-the-final-fabric"><img alt="Figure 5: Master-weaver Jabbar, displaying the final fabric, decorated in the bhutidar style. Spark: UAL Creative Teaching and Learning Journal / Vol 1 / Issue 1 (2016) The Jamdani project: A journey of intergenerational and transnational learning " class="figure-slide-image" src="https://figures.academia-assets.com/49021106/figure_005.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/4404656/figure-6-detail-of-the-jamdanis-motif-puratan-bhuti-ancient"><img alt="Figure 6: Detail of the Jamdani’s motif, a ‘Puratan Bhuti’ (ancient print) pattern. This, anc another cloth were created specially for this project. " class="figure-slide-image" src="https://figures.academia-assets.com/49021106/figure_006.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/4404658/figure-8-students-meeting-for-the-first-time-and"><img alt="Figure 8: Students meeting for the first time and experiencing what it is like to work at LCF’s studios. They learnt about where the fabric came from and handled the specially woven cloth Figure 8: Students meeting for the first time and experiencing what it is like to work at LCF’s " class="figure-slide-image" src="https://figures.academia-assets.com/49021106/figure_007.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/4404660/figure-7-the-jamdani-cloth-on-the-studio-at-lcf-the-two"><img alt="Figure 7: The Jamdani cloth on the studio table at LCF. The two cloths each had a different design: ‘Bhager Phara’ (tiger’s footprint) on top of one incorporating a ‘Puratan Bhuti’ (ancient print) (see Figure 6). Spark: UAL Creative Teaching and Learning Journal / Vol 1 / Issue 1 (2016) The Jamdani project: A journey of intergenerational and transnational learning " class="figure-slide-image" src="https://figures.academia-assets.com/49021106/figure_008.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/4404662/figure-9-students-got-to-know-each-other-through-group"><img alt="Figure 9: Students got to know each other through group discussions, during which they critiqued historical and cultural inspirations and viewed Regency evening gown designs. " class="figure-slide-image" src="https://figures.academia-assets.com/49021106/figure_009.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/4404666/figure-10-tutors-and-students-worked-together-on-dress-ideas"><img alt="Figure 10: Tutors and students worked together on dress ideas. " class="figure-slide-image" src="https://figures.academia-assets.com/49021106/figure_010.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/4404668/figure-11-the-tutors-encouraged-students-to-provide-feedback"><img alt="Figure 11: The tutors encouraged students to provide feedback, which allowed fo collaborative, further development of their initial ideas. Spark: UAL Creative Teaching and Learning Journal / Vol 1 / Issue 1 (2016) The Jamdani project: A journey of intergenerational and transnational learnin« " class="figure-slide-image" src="https://figures.academia-assets.com/49021106/figure_011.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/4404669/figure-12-students-and-tutors-at-the-lcf-studios-in-mare"><img alt="Figure 12: Students and tutors at the LCF studios in Mare Street. In this session they learnt about the use of muslin during the ‘Jane Austen’ era. Students had the opportunity to touch, feel and explore the stitching of two Regency style dresses made out of muslin. The garments were created as part of a project run by the Brick Lane Circle and Stepney Trust entitled ‘How villages and towns in Bengal dressed London ladies in the 17th, 18th and early 19th centuries’ (2013). " class="figure-slide-image" src="https://figures.academia-assets.com/49021106/figure_012.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/4404672/figure-14-making-the-dresses-hand-stitched-back-hook-details"><img alt="Figure 14: Making the dresses, hand-stitched back hook details. " class="figure-slide-image" src="https://figures.academia-assets.com/49021106/figure_013.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/4404675/figure-13-making-the-dresses-hand-stitched-pleats-spark-ual"><img alt="Figure 13: Making the dresses, hand-stitched pleats. Spark: UAL Creative Teaching and Learning Journal / Vol 1 / Issue 1 (2016) The Jamdani project: A journey of intergenerational and transnational learnin¢ " class="figure-slide-image" src="https://figures.academia-assets.com/49021106/figure_014.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/4404679/figure-15-and-the-final-evening-gowns-modelled-by-students"><img alt="Figures 15 and 16: The final evening gowns, modelled by students who worked on the project. Spark: UAL Creative Teaching and Learning Journal / Vol 1 / Issue 1 (2016) The Jamdani project: A journey of intergenerational and transnational learning " class="figure-slide-image" src="https://figures.academia-assets.com/49021106/figure_015.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/4404680/figure-18-at-the-reception-the-students-who-participated-in"><img alt="Figure 18: At the reception, the students who participated in the project received certificates. One student commented on being delighted to ‘receive my own sewing kit and working with different ages in a studio’ and another student said he particularly ‘enjoyed learning how to dc the back-stitch’. " class="figure-slide-image" src="https://figures.academia-assets.com/49021106/figure_016.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/4404681/figure-17-the-reception-at-lcf-mare-street-this-final-event"><img alt="Figure 17: The reception at LCF, Mare Street. This final event celebrated the project. We served Bengali snacks, had performances of Bengali music, a presentation on muslin by Rifat Wahhab chair of The Muslin Trust and the dresses were modelled for friends, family and tutors. Spark: UAL Creative Teaching and Learning Journal / Vol 1 / Issue 1 (2016) The Jamdani project: A journey of intergenerational and transnational learning " class="figure-slide-image" src="https://figures.academia-assets.com/49021106/figure_017.jpg" width="114" height="68" /></a></figure></div><div class="next-slide-container js-next-button-container"><button aria-label="Next" class="carousel-navigation-button js-profile-work-21115201-figures-next"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">arrow_forward_ios</span></button></div></div></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="96439d7f365bcc534cdb42a9fa20731d" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":49021106,"asset_id":21115201,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/49021106/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="21115201"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="21115201"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 21115201; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=21115201]").text(description); $(".js-view-count[data-work-id=21115201]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 21115201; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='21115201']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "96439d7f365bcc534cdb42a9fa20731d" } } $('.js-work-strip[data-work-id=21115201]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":21115201,"title":"The Jamdani Project: A Journey of Intergenerational and Transnational Learning","translated_title":"","metadata":{"issue":"1","volume":"1","abstract":"This photo essay illustrates the Jamdani Project, a journey of intergenerational and transnational learning through making, creating and playing. 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Clustering and Design Thinking: A Case Study of the Global Apparel Industry" class="work-thumbnail" src="https://attachments.academia-assets.com/49021210/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/19929975/Managing_Strategic_Change_Through_Creative_Clustering_and_Design_Thinking_A_Case_Study_of_the_Global_Apparel_Industry">Managing Strategic Change Through Creative Clustering and Design Thinking: A Case Study of the Global Apparel Industry</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://ucl.academia.edu/DrLipiBegum">Dr Lipi Begum</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://independent.academia.edu/LynneHammond">Lynne Hammond</a></span></div><div class="wp-workCard_item"><span>Chartered Management Institute UK (CMI)</span><span>, 2016</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Short-listed for Chartered Management Institute UK (CMI) Management Articles of the Year 2015, u...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Short-listed for Chartered Management Institute UK (CMI)  Management Articles of the Year 2015, under the category: Facilitating Change.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="d028f8f668c332b7455d3b49fa35febf" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" 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Aedu.setUpFigureCarousel('profile-work-19929975-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="11700585"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/11700585/Contemporary_South_Asian_Youth_Cultures_and_the_Fashion_landscape"><img alt="Research paper thumbnail of Contemporary South Asian Youth Cultures and the Fashion landscape" class="work-thumbnail" src="https://attachments.academia-assets.com/37143850/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/11700585/Contemporary_South_Asian_Youth_Cultures_and_the_Fashion_landscape">Contemporary South Asian Youth Cultures and the Fashion landscape</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://ucl.academia.edu/DrLipiBegum">Dr Lipi Begum</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://glasgow.academia.edu/RohitKDasgupta">Rohit K Dasgupta</a></span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">In this article we reflect on the timely dialogue which took place to address how economic growth...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">In this article we reflect on the timely dialogue which took place to address how economic growth and the expanding middle-class youth population in South Asia (Afghanistan, Bangladesh, Bhutan, India, Maldives, Nepal, Pakistan and Sri Lanka) influences sartorial identities. This working note is based on an ongoing research project: ‘South Asian Youth Cultures and Fashion’ and the related symposium at the London College of Fashion, which explores how South Asian sartorial identities have been previously classified and how they are changing in the face of an increasingly globalized world. The conversations which took place reiterated the very reason why the symposium was organized. Whilst there has been some study of South Asian fashion and dressing cultures within history, anthropology and its diaspora, little work has looked at the transnational implication of the changing cultural, economic and fashion education environments on dress cultures on youth.</span></div><div class="wp-workCard_item"><div class="carousel-container carousel-container--sm" id="profile-work-11700585-figures"><div class="prev-slide-container js-prev-button-container"><button aria-label="Previous" class="carousel-navigation-button js-profile-work-11700585-figures-prev"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">arrow_back_ios</span></button></div><div class="slides-container js-slides-container"><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/12604200/figure-1-contemporary-south-asian-youth-cultures-and-the"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/37143850/figure_001.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/12604211/figure-2-contemporary-south-asian-youth-cultures-and-the"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/37143850/figure_002.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/12604224/figure-3-contemporary-south-asian-youth-cultures-and-the"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/37143850/figure_003.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/12604249/figure-4-in-the-final-session-streetstyle-and-lyrical-swag"><img alt="In the final session ‘Streetstyle and Lyrical Swag’, Aria Reza Alagha intro- duced us to ‘Swagistan’, a term coined by the BBC British Asian radio host, Bobby Friction. Alagha explained the importance of social media as a plat- form through which youth-produced sartorial cultures could be explored and showcased. Swagistan is both a place and a non-place. Alagha has taken Friction’s term and applied it to a popular Tumblr blog where he, along with a team of contributors, curates and showcases British Asian ‘swag’, raising the importance of widening the participation of lived experiences to South Asian fashion studies and practices. " class="figure-slide-image" src="https://figures.academia-assets.com/37143850/figure_004.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/12604267/figure-5-swagistan-tumblr-page-photo-aria-reza-alagha"><img alt="Figure 5: ‘Swagistan’ Tumblr page. Photo: Aria Reza Alagha. Through this linkage, she discussed the resurgence of orientalist viewpoints in contemporary Indian fashion, which go beyond Edward Said’s original work, Orientalism (1978). " class="figure-slide-image" src="https://figures.academia-assets.com/37143850/figure_005.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/12604286/table-1-contemporary-south-asian-youth-cultures-and-the"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/37143850/table_001.jpg" width="114" height="68" /></a></figure></div><div class="next-slide-container js-next-button-container"><button aria-label="Next" class="carousel-navigation-button js-profile-work-11700585-figures-next"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">arrow_forward_ios</span></button></div></div></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="e20d812bf0b7c70c69442533219a6ccf" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":37143850,"asset_id":11700585,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/37143850/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="11700585"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="11700585"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 11700585; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=11700585]").text(description); $(".js-view-count[data-work-id=11700585]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 11700585; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='11700585']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "e20d812bf0b7c70c69442533219a6ccf" } } $('.js-work-strip[data-work-id=11700585]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":11700585,"title":"Contemporary South Asian Youth Cultures and the Fashion landscape","translated_title":"","metadata":{"abstract":"In this article we reflect on the timely dialogue which took place to address how economic growth and the expanding middle-class youth population in South Asia (Afghanistan, Bangladesh, Bhutan, India, Maldives, Nepal, Pakistan and Sri Lanka) influences sartorial identities. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (true) { Aedu.setUpFigureCarousel('profile-work-11700585-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="19928779"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/19928779/Lingerie_Brand_Advertising_through_Saidian_Logic"><img alt="Research paper thumbnail of Lingerie Brand Advertising through Saidian Logic" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title">Lingerie Brand Advertising through Saidian Logic</div><div class="wp-workCard_item"><span>Working Papers in Fashion Studies, University of the Arts London Publications</span><span>, 2012</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated"> </span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="19928779"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="19928779"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 19928779; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-19928745-figures'); } }); </script> </div><div class="profile--tab_content_container js-tab-pane tab-pane" data-section-id="5848071" id="talks"><div class="js-work-strip profile--work_container" data-work-id="49241112"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/49241112/Interview_for_Forbes_Why_Does_the_Fashion_Industry_Care_Less_About_Garment_Workers_in_Other_Countries"><img alt="Research paper thumbnail of Interview for Forbes: Why Does the Fashion Industry Care Less About Garment Workers in Other Countries?" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title">Interview for Forbes: Why Does the Fashion Industry Care Less About Garment Workers in Other Countries?</div><div class="wp-workCard_item"><span>Forbes</span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Why Does the Fashion Industry Care Less About Garment Workers in Other Countries?, Forbes (Jul 30...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Why Does the Fashion Industry Care Less About Garment Workers in Other Countries?, Forbes (Jul 30, 2020) interviewed by Brooke Roberts-Islam 2020.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="49241112"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="49241112"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 49241112; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-49241112-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="49241082"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/49241082/Decentring_Fashion_Cultural_Urgencies_Actions_toward_representation_equity_justice_well_being"><img alt="Research paper thumbnail of Decentring Fashion, Cultural Urgencies: Actions toward representation, equity, justice, well-being" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title">Decentring Fashion, Cultural Urgencies: Actions toward representation, equity, justice, well-being</div><div class="wp-workCard_item"><span>Decolonising the Arts Institute, University of the Arts London</span><span>, 2021</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Decentring Fashion by Charlie Athill & Cher Potter & Divia Patel & Lipi Begum & Michael McMillan ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Decentring Fashion<br />by Charlie Athill & Cher Potter & Divia Patel & Lipi Begum & Michael McMillan & Serkan Delice<br />March 2, 2021<br /><br />“Decentering Fashion” was guest-curated by the Cultural and Historical Studies team at London College of Fashion. Professor Shahidha Bari chairs a discussion with researchers at UAL and with colleagues at the V&A, to reflect on work that attempts to de-centre Western, white and Eurocentric ideas of fashion. The aim of the session is to think about fashion as a more global network of production and consumption. Participants present their research and reflect on the challenges and opportunities for fashion studies going forward.<br /><br />This roundtable was part of the series “Cultural Urgencies: Actions toward representation, equity, justice, well-being,” organised and hosted by the Decolonising Art Institute Research Fellows, draws together their varied but overlapping concerns with representation, equity, justice and well-being in the fields of visual culture, higher education and art institutions. Issues around historical and cultural narrative production, power relations, welfare, and inclusive communication will be variously explored and with an emphasis on impacting change.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="49241082"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="49241082"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 49241082; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=49241082]").text(description); $(".js-view-count[data-work-id=49241082]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 49241082; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='49241082']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=49241082]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":49241082,"title":"Decentring Fashion, Cultural Urgencies: Actions toward representation, equity, justice, well-being","translated_title":"","metadata":{"abstract":"Decentring Fashion\nby Charlie Athill \u0026 Cher Potter \u0026 Divia Patel \u0026 Lipi Begum \u0026 Michael McMillan \u0026 Serkan Delice\nMarch 2, 2021\n\n“Decentering Fashion” was guest-curated by the Cultural and Historical Studies team at London College of Fashion. 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In this episode on th...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Episode 2 of the Small Town Big Dreams Series for Belfast Design Week 2020. In this episode on the human cost of design, Blick Studio hosts Rachel and Karishma invite me to discuss attitudes to the ethics around the products we consume and the human cost of it all. How can we engage with design in a more ethical and responsible way?</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="49241026"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="49241026"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 49241026; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=49241026]").text(description); $(".js-view-count[data-work-id=49241026]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 49241026; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='49241026']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=49241026]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":49241026,"title":"Podcast: Island Designed Ep 2 - The Cost of Design","translated_title":"","metadata":{"abstract":"Episode 2 of the Small Town Big Dreams Series for Belfast Design Week 2020. 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","internal_url":"https://www.academia.edu/49241026/Podcast_Island_Designed_Ep_2_The_Cost_of_Design","translated_internal_url":"","created_at":"2021-06-14T09:59:34.584-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":4611397,"coauthors_can_edit":true,"document_type":"talk","co_author_tags":[],"downloadable_attachments":[],"slug":"Podcast_Island_Designed_Ep_2_The_Cost_of_Design","translated_slug":"","page_count":null,"language":"en","content_type":"Work","summary":"Episode 2 of the Small Town Big Dreams Series for Belfast Design Week 2020. In this episode on the human cost of design, Blick Studio hosts Rachel and Karishma invite me to discuss attitudes to the ethics around the products we consume and the human cost of it all. How can we engage with design in a more ethical and responsible way? ","impression_tracking_id":null,"owner":{"id":4611397,"first_name":"Dr Lipi","middle_initials":null,"last_name":"Begum","page_name":"DrLipiBegum","domain_name":"ucl","created_at":"2013-06-20T23:28:17.040-07:00","display_name":"Dr Lipi Begum","url":"https://ucl.academia.edu/DrLipiBegum"},"attachments":[],"research_interests":[{"id":10272,"name":"Ethical Fashion","url":"https://www.academia.edu/Documents/in/Ethical_Fashion"}],"urls":[{"id":10265726,"url":"https://podbay.fm/p/small-town-big-dreams-796360/e/1605113109"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-49241026-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="49240965"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/49240965/Panel_Chair_Clothing_and_Cosmetics_Race_and_Gender"><img alt="Research paper thumbnail of Panel Chair: Clothing and Cosmetics, Race and Gender" class="work-thumbnail" src="https://attachments.academia-assets.com/67625029/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/49240965/Panel_Chair_Clothing_and_Cosmetics_Race_and_Gender">Panel Chair: Clothing and Cosmetics, Race and Gender</a></div><div class="wp-workCard_item"><span>British Association of Film, Television and Screen Studies</span><span>, 2021</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Clothing and Cosmetics, Race and Gender, Time and the Body in Film, Television and Screen Studies. </span></div><div class="wp-workCard_item"><div class="carousel-container carousel-container--sm" id="profile-work-49240965-figures"><div class="prev-slide-container js-prev-button-container"><button aria-label="Previous" class="carousel-navigation-button js-profile-work-49240965-figures-prev"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">arrow_back_ios</span></button></div><div class="slides-container js-slides-container"><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129725/table-1-full-baftss-conference-programme-schedule-with"><img alt="Full BAFTSS Conference 2021 programme schedule with individual paper abstracts " class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_001.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129728/table-2-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_002.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129733/table-3-my-current-project-is-princes-grace-kelly-minute"><img alt="My current project is “Princes [GRACE] Kelly’, a 31-minute audiovisual essay that reconstructs The Wedding in Monaco using sounds and image: from Kelly’s film performances; a short career which spanned only six years and consisted of eleven films. What happens when one recreates biography with performance and documentary with fiction? What are the implications of condensing an already short career into an even shorter short film? And what are the ethical implications of audiovisually appropriating Grace Kelly’s body in this way? In my presentation, | plat to address these questions and also screen a portion of the essay. " class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_003.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129738/table-4-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_004.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129743/table-5-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_005.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129751/table-6-attempt-to-express-the-inexpressible-that-grows-and"><img alt="attempt to express the inexpressible that grows and heals non-linear, Gelis rejects Western Ocularcentrism and metrics and, instead, follows a topological time concept while allowing nonvisual, haptic, embodied knowledge to take up space. This results in a filmic expe rience that lets the viewer touch not just textile, skin and film emulsion but also time, tying on Michel Serres’ thoughts in Five Senses. A Philosophy of Mingled Bodies when he writes that topology is, in fact, tactile. " class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_006.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129756/table-7-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_007.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129762/table-8-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_008.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129770/table-9-screen-and-in-the-minds-eye-of-the-viewer-thereby"><img alt="screen and in the mind’s eye of the viewer thereby opening up opportunities for a new ‘dialogue of discovery’ with the work. " class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_009.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129783/table-10-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_010.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129792/table-11-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_011.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129798/table-12-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_012.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129803/table-13-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_013.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129810/table-14-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_014.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129816/table-15-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_015.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129821/table-16-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_016.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129826/table-17-black-audio-film-collectives-the-last-angel-of"><img alt="Black Audio Film Collective’s The Last Angel of History (1996) utilises Afrofuturism’s ‘posthuman’ philosophical principles, challenging normative assumptions around the human body and temporality. This produces a subversive representation of the black subject — specifically of several neglected or misunderstood black music icons. The nexus of this complex framework comes in the form of the film’s protagonist: the Data Thief. The Data Thief travels from the future with the technological tools that allow him to oversee the effects of historical bondage, as well as the sonic mechanisms to overcome them. He appears only in techno-tableaux, appearing to exist only through technology, ‘as if the lines between the human body and the digital body have become indistinct’ (Skoller, 1997: 14). " class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_017.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129831/table-18-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_018.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129836/table-19-this-paper-examines-the-ways-in-which-the"><img alt="This paper examines the ways in which the relationship between the human and the non-human is staged in recent three films that are set and portray Amazonian landscapes: Los silencios (Beatriz Seigner, 2018, Brazil), A febre (The Fever, Maya Da-Rin, 2019, Brazil) and Chuva é cantoria na aldeia dos mortos (The Dead and the Others, Renée Nader Messora and Jodo Salaviza, 2018, Brazil/Portugal). Images of forests and woodlands have featured in cinema, especially as settings for films that belong to specific genres, such is the case of horror movies. However, recent films that portray forest landscapes reveal aspects that go beyond symbolic representations of these spaces and places. This paper aims to look at the temporality of nature and the formal and ethical role of spatiality in films that attempt to bring a non-anthropocentric approach to cinema, based on an idea of nature as a network of organic and inorganic beings, whose agency reaches beyond human life -worlds. | argue that, in times of environmental catastrophes, the treatment given to nature in these films emphasizes the materiality and agency of non-human elements, in addition to making the observer feel and think of nature as a corporeal and affective experience. Based on an ecological thought, as proposed by Timothy Morton, Anat Pick and Guinevere Narraway, and on the concepts of haptic visuality (Marks, Bruno) and affect (Massumi, Bennett, Rutherford), this paper contends that by ascribing agency to the nonhuman and challenging traditional ideas of representation, the films present an affective ecology of moving images. It concludes by proposing that nature and the nonhuman can evoke both aesthetic and political power that can become a gesture of activism, while also revealing a new ethics of representation. " class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_019.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129840/table-20-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_020.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129843/table-21-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_021.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129846/table-22-the-cinema-knows-many-bodies-and-many-times-where"><img alt="d1 | The cinema knows many bodies, and many times. Where the former are concerned, these include the on-screen body, the body of the film itself, and the body/bodies of its spectator(s). Its times are also constituted in multiple dimensions, including events set in the past, depicted in the " class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_022.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129850/table-23-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_023.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129852/table-24-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_024.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129853/table-25-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_025.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129855/table-26-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_026.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129856/table-27-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_027.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129860/table-28-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_028.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129864/table-29-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_029.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129865/table-30-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_030.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129867/table-31-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_031.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129868/table-32-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_032.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129869/table-33-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_033.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129872/table-34-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_034.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129874/table-35-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_035.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129875/table-36-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_036.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129876/table-37-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_037.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129877/table-38-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_038.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129879/table-39-addition-to-representing-an-intercultural-cinema"><img alt="n addition to representing an intercultural cinema, much of the emotional proximity between the films and their viewers enforces Marks’ notior yf ‘haptic visuality’, which encourages one to be ‘co-present’ with the films (Marks, 1999: 164) as well as to maintain a ‘widely shared...collective »xperience’ (Marks:1999,5). This is particularly evident through the ways in which the films were directed and produced. Labaki’s protagonists hemselves were not actors, rather they were children who had lived a very similar experience to those they were portraying. As a result of this, he medium of film gave them a powerful platform from which to express their stories of child abuse and poverty to an international audience. " class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_039.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129880/table-40-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_040.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129881/table-41-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_041.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129883/table-42-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_042.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129884/table-43-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_043.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129885/table-44-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_044.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129886/table-45-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_045.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129887/table-46-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_046.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129888/table-47-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_047.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129889/table-48-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_048.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129890/table-49-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_049.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129891/table-50-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_050.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129892/table-51-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_051.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129893/table-52-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_052.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129894/table-53-television-script-by-jill-craigie-includes-the"><img alt="A 1949 television script by Jill Craigie includes the recreation of a well-known event from the history of the suffragette movement, when the young Charlotte Marsh was apprehended disrupting a speech by Prime Minister Herbert Asquith on the roof of Bingley Hall in Birmingham. This rooftop scene in Craigie’s script details Charlotte’s nervous chat with a friend about their tactics, their shouting ‘Votes for women!’ and hurling slates from the roof, before a hose pipe is turned on them by the police. Shaped by an attention to ‘live’ production methods, the script is peppered with a number of such moments — often privileging Charlotte’s first-hand, psychological and physical, experiences. Through a close attention to performance, movement and use of space, | suggest these scenes offer evidence of Craigie’s feminist attempt to use the medium’s ‘liveness’, ‘immediacy’ and ‘intimacy’ as a means of forcefully conveying the suffragettes’ struggle for the vote. " class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_053.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129896/table-54-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_054.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129898/table-55-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_055.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129900/table-56-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_056.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129902/table-57-white-and-the-huntsman-angelique-in-dark-shadows"><img alt="White and the Huntsman (2012), Angelique in Dark Shadows (2012), the ghost of Edith Brennan in Mama (2013) and Rose the Hat in Doctor Sleep (2019) are given a voice - literally and metaphorically - to share their side of the story. " class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_057.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129904/table-58-clouds-over-sidra-barry-pousman-gabo-arora-usa"><img alt="1 Clouds over Sidra | Barry Pousman/Gabo Arora | USA | 2015. https://www.with.in/watch/CKRcSWA. This paper will explore the animated body within a selection of short films that include De Passant (Pieter Coudyzer, 2020), Sororal (Frederick Even and Louise Mecadier, 2019), The Pearce Sisters (Louis Cook, 2007) and Father and Daughter (Michael Duodok de Wit, 2000). It will examine trauma, damage, death and decay - of the mind as well as physical erosion of the body - and how the passing of time impacts upon these things, as well as the significance of the making of the body (the technology), the culture of being and the sense of belonging and, paradoxically, of not. What does time mean within the animated short? Coudyzer, reflecting on his film De Passant and the event that inspired it, acknowledged: ‘the thing that happened has never left my mind.’ Animation becomes a vessel for capturing narratives of physical and mental harm and loss, of damage to bodies and minds, of cycles that end; all stories are accentuated by the slow, ghostly passage of time. " class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_058.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129906/table-59-character-customization-is-an-important-part-of-the"><img alt="Character customization is an important part of the gaming experience, which can be found in many genres, although the RPG (Role-Playing Game) is the genre which takes particular advantage of this technology. Good examples are Blade & Soul (2012, NCSOFT) and The Elder Scrolls V: Skyrim (2011, Bethesda Softworks). An integral part of the role play is in the creativity of self-design, indeed, this might be a principal attraction. Games offers the possibility for the player to play as a completely different ‘body’. This paper will focus on the process of players creating their own avatar through character customization to analyses of body image complexity in digital games. | argue that not only is character customization a play of self-image, but an effective solution to resolve players’ concerns such as female players’ anxiety about sexually suggestive female body images. " class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_059.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129909/table-60-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_060.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129912/table-61-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_061.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129918/table-62-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_062.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129921/table-63-hans-richters-experimental-rhythmus-presents-series"><img alt="Hans Richter’s experimental Rhythmus 21 presents a series of abstract shapes that play with the spectator’s perceptual engagement with the film frame. What is at stake in analysing this work is how the spectator can form sense from the abstract patterns presented. Watching the film and encountering its rhythms puts the spectator in a mode of perception that engenders pattern spotting: a cognitive seduction to the contrapuntal logic that Richter creates between different shapes and forms. The film seems to invite from the spectator a new conception of rationality; Richter’s intention was to “render the emotions as accessible to our powers of judgement as the other domains of the human will, from which the ‘soul’ has traditionally been excluded.” This paper will explore Richter’s films and writings in light of the recent “Promethean” philosophies of Ray Brassier and Reza Negarestani, as well as the xenofeminist writings of the collective Laboria Cuboniks. This will require important historical contextualisation since, as Sarah Cooper " class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_063.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129924/table-64-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_064.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129928/table-65-jean-frangois-lyotard-time-today-in-the-inhuman"><img alt="6 Jean-Frangois Lyotard, ‘Time Today’ in The Inhuman, (Cambridge: Polity Press, 1993) p. 62. " class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_065.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129932/table-66-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_066.jpg" width="114" height="68" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/37129937/table-67-panel-chair-clothing-and-cosmetics-race-and-gender"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/67625029/table_067.jpg" width="114" height="68" /></a></figure></div><div class="next-slide-container js-next-button-container"><button aria-label="Next" class="carousel-navigation-button js-profile-work-49240965-figures-next"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">arrow_forward_ios</span></button></div></div></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="bb5c127218c5d0b0cc0bfb02c15a6b63" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":67625029,"asset_id":49240965,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/67625029/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="49240965"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="49240965"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 49240965; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=49240965]").text(description); $(".js-view-count[data-work-id=49240965]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 49240965; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='49240965']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "bb5c127218c5d0b0cc0bfb02c15a6b63" } } $('.js-work-strip[data-work-id=49240965]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":49240965,"title":"Panel Chair: Clothing and Cosmetics, Race and Gender","translated_title":"","metadata":{"abstract":"Clothing and Cosmetics, Race and Gender, Time and the Body in Film, Television and Screen Studies. 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British Textile Biennial" class="work-thumbnail" src="https://attachments.academia-assets.com/61680026/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/41512716/The_Fabric_of_Our_Times_Perspectives_on_the_Future_for_UK_Fashion_and_Textiles_British_Textile_Biennial">The Fabric of Our Times: Perspectives on the Future for UK Fashion and Textiles. British Textile Biennial</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">In association with Business of Fashion, Textiles and Technology (BFTT), Creative R&D Partnership...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">In association with Business of Fashion, Textiles and Technology (BFTT), Creative R&D Partnership. London College of Fashion, UAL, with the support from UK Industrial Strategy: An industry roundtable discussion with Dr Lipi Begum discussing the recently launched nationwide survey consultation to help shape the future sustainable development of the fashion industry. Reactions were invited to the initial findings and perspectives from key contributors representing all aspects of the textiles ecosystem and related industries including apparel & textiles industrialists, sector bodies and academic institutions. Key Contributors included: Beverley Lamey - Surface Pattern & Textiles: University of Central Lancashire (UCLan); Brant Richards, - Co-founder: HebTroCo; Danielle Slinger - Textiles & Fashion: Blackburn College; Denise Pearson - MD: Deni-Deni; Gemma Potter - Transformation North West; Glenda Brindle - Creative Lancashire Board; Paige Earlam - Plexus Cotton; Rajan Soond - University Centre at Blackburn College (UCBC); Sandra Dartnell - Creative & Cultural Skills (CCSkills); Sarah Lloyd - Head of Design: Panaz and Suzanne Jennions - Try & Lilly</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="9d13bd487f450a1d44b3626b8dbd1303" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":61680026,"asset_id":41512716,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/61680026/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="41512716"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="41512716"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 41512716; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=41512716]").text(description); $(".js-view-count[data-work-id=41512716]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 41512716; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='41512716']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "9d13bd487f450a1d44b3626b8dbd1303" } } $('.js-work-strip[data-work-id=41512716]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":41512716,"title":"The Fabric of Our Times: Perspectives on the Future for UK Fashion and Textiles. 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This conference took modern slavery as...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Slavery, Colonialism and Contemporary Global Inequalities. This conference took modern slavery as a framework for thinking through diverse forms of dehumanising and precarious labour. What are the specificities of the different forms, how do they differ and how might it benefit us to think them together? Speakers explored the relationship between slavery and other historical forms of forced or precarious labour and modern day slavery and human trafficking. The conference is developed in collaboration with the Chocolonely Foundation.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="41512646"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="41512646"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 41512646; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=41512646]").text(description); $(".js-view-count[data-work-id=41512646]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 41512646; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='41512646']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=41512646]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":41512646,"title":"Bangladesh Garment Factories and Forced Labour Legacies: Session 4: Economy of Slavery: From Cotton to Chocolate","translated_title":"","metadata":{"abstract":"Slavery, Colonialism and Contemporary Global Inequalities. 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For more information on the Materialising Slavery project, which addresses the material and visual culture of slavery and colonialism please take a look at www.materialculture.nl/en/research/projects/materializing-slavery.","event_date":{"day":27,"month":6,"year":2019,"errors":{}},"organization":"Tropenmuseum and KIT Royal Tropical Institute","publication_date":{"day":null,"month":null,"year":2019,"errors":{}}},"translated_abstract":"Slavery, Colonialism and Contemporary Global Inequalities. This conference took modern slavery as a framework for thinking through diverse forms of dehumanising and precarious labour. What are the specificities of the different forms, how do they differ and how might it benefit us to think them together? Speakers explored the relationship between slavery and other historical forms of forced or precarious labour and modern day slavery and human trafficking. 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Old, But Gold! The Role of Aging Stereotypes on Consumers’ Purchase Intentions in Second-Hand Marketplaces<br />Felipe Pantoja, IESEG School of Management (LEM-CNRS), France* Marat Bakpayev, University of Minnesota, Duluth, United States Patricia Rossi, IESEG School of Management (LEM-CNRS), France Sukki Yoon, Bryant University, United States <br />This research examines the impact of sellers’ age on consumers’ purchase intentions in online second-hand markets. Drawing on stereotypes and consumer contagion literature, we show a consistent preference for products pre-owned by senior (vs. young) sellers and investigate the mediator role of sellers’ perceived interpersonal warmth on the referred relationship.<br /><br />2. Gender Identity-Related Reactions to Sex-Typed and Unisex Labeled Products<br />Susanne Ludwig, University of Mannheim, Germany Stefan Hattula, University of Stuttgart, Germany* Florian Kraus, University of Mannheim, Germany<br />Two experiments highlight gender identity’s relevance to the gender labeling-purchase intention relationship. Gender schematic consumers are indifferent between sex-typed or unisex labeling. Product’s gender expressiveness and functionality oppositely favor both options. In favor of unisex products, gender aschematics are less sensitive to gender cues, making perceived functionality the relevant mechanism.<br /><br />3. He’s Just Not That Into Anyone: The Impact of Sex Fantasy on Attraction<br />Jingjing Ma, Peking University, China*<br />David Gal, University of Illinois at Chicago, USA<br />Sex fantasies are ubiquitous in our lives and their impact on romantic relationships is complex and controversial. One field and three lab studies show that fantasizing about sex produces a devaluation of romance which, in turn, demotivates individuals to engage in romantic relationship as the latter demands too much effort.<br /><br />4. The Push and Pull of Attachment Styles on Romantic Consumption<br />Martin Mende, Florida State University, USA* Maura Scott, Florida State University, USA Aaron Garvey, University of Kentucky, USA Lisa Bolton, Pennsylvania State University, USA<br />How and why people engage in romantic consumption is not fully understood. Two studies examine the impact of attachment styles on romantic consumption (e.g., romantic movies, weddings) and find that attachment anxiety stimulates romantic consumption and attachment avoidance functions as a barrier. 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Old, But Gold! The Role of Aging Stereotypes on Consumers’ Purchase Intentions in Second-Hand Marketplaces\nFelipe Pantoja, IESEG School of Management (LEM-CNRS), France* Marat Bakpayev, University of Minnesota, Duluth, United States Patricia Rossi, IESEG School of Management (LEM-CNRS), France Sukki Yoon, Bryant University, United States \nThis research examines the impact of sellers’ age on consumers’ purchase intentions in online second-hand markets. Drawing on stereotypes and consumer contagion literature, we show a consistent preference for products pre-owned by senior (vs. young) sellers and investigate the mediator role of sellers’ perceived interpersonal warmth on the referred relationship.\n\n2. 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One field and three lab studies show that fantasizing about sex produces a devaluation of romance which, in turn, demotivates individuals to engage in romantic relationship as the latter demands too much effort.\n\n4. The Push and Pull of Attachment Styles on Romantic Consumption\nMartin Mende, Florida State University, USA* Maura Scott, Florida State University, USA Aaron Garvey, University of Kentucky, USA Lisa Bolton, Pennsylvania State University, USA\nHow and why people engage in romantic consumption is not fully understood. Two studies examine the impact of attachment styles on romantic consumption (e.g., romantic movies, weddings) and find that attachment anxiety stimulates romantic consumption and attachment avoidance functions as a barrier. 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Drawing on stereotypes and consumer contagion literature, we show a consistent preference for products pre-owned by senior (vs. young) sellers and investigate the mediator role of sellers’ perceived interpersonal warmth on the referred relationship.\n\n2. Gender Identity-Related Reactions to Sex-Typed and Unisex Labeled Products\nSusanne Ludwig, University of Mannheim, Germany Stefan Hattula, University of Stuttgart, Germany* Florian Kraus, University of Mannheim, Germany\nTwo experiments highlight gender identity’s relevance to the gender labeling-purchase intention relationship. Gender schematic consumers are indifferent between sex-typed or unisex labeling. Product’s gender expressiveness and functionality oppositely favor both options. In favor of unisex products, gender aschematics are less sensitive to gender cues, making perceived functionality the relevant mechanism.\n\n3. He’s Just Not That Into Anyone: The Impact of Sex Fantasy on Attraction\nJingjing Ma, Peking University, China*\nDavid Gal, University of Illinois at Chicago, USA\nSex fantasies are ubiquitous in our lives and their impact on romantic relationships is complex and controversial. One field and three lab studies show that fantasizing about sex produces a devaluation of romance which, in turn, demotivates individuals to engage in romantic relationship as the latter demands too much effort.\n\n4. The Push and Pull of Attachment Styles on Romantic Consumption\nMartin Mende, Florida State University, USA* Maura Scott, Florida State University, USA Aaron Garvey, University of Kentucky, USA Lisa Bolton, Pennsylvania State University, USA\nHow and why people engage in romantic consumption is not fully understood. Two studies examine the impact of attachment styles on romantic consumption (e.g., romantic movies, weddings) and find that attachment anxiety stimulates romantic consumption and attachment avoidance functions as a barrier. These effects are driven by emotional intimacy motives.","internal_url":"https://www.academia.edu/29909577/Chair_Gender_Sex_and_Romance_Panel","translated_internal_url":"","created_at":"2016-11-17T03:16:12.005-08:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":4611397,"coauthors_can_edit":true,"document_type":"other","co_author_tags":[],"downloadable_attachments":[],"slug":"Chair_Gender_Sex_and_Romance_Panel","translated_slug":"","page_count":null,"language":"en","content_type":"Work","summary":"8.4 Gender, Sex and Romance\nRoom: Salon 4: London\nChair: Lipi Begum, University of Southampton, UK\n\n1. Old, But Gold! The Role of Aging Stereotypes on Consumers’ Purchase Intentions in Second-Hand Marketplaces\nFelipe Pantoja, IESEG School of Management (LEM-CNRS), France* Marat Bakpayev, University of Minnesota, Duluth, United States Patricia Rossi, IESEG School of Management (LEM-CNRS), France Sukki Yoon, Bryant University, United States \nThis research examines the impact of sellers’ age on consumers’ purchase intentions in online second-hand markets. Drawing on stereotypes and consumer contagion literature, we show a consistent preference for products pre-owned by senior (vs. young) sellers and investigate the mediator role of sellers’ perceived interpersonal warmth on the referred relationship.\n\n2. Gender Identity-Related Reactions to Sex-Typed and Unisex Labeled Products\nSusanne Ludwig, University of Mannheim, Germany Stefan Hattula, University of Stuttgart, Germany* Florian Kraus, University of Mannheim, Germany\nTwo experiments highlight gender identity’s relevance to the gender labeling-purchase intention relationship. Gender schematic consumers are indifferent between sex-typed or unisex labeling. Product’s gender expressiveness and functionality oppositely favor both options. In favor of unisex products, gender aschematics are less sensitive to gender cues, making perceived functionality the relevant mechanism.\n\n3. He’s Just Not That Into Anyone: The Impact of Sex Fantasy on Attraction\nJingjing Ma, Peking University, China*\nDavid Gal, University of Illinois at Chicago, USA\nSex fantasies are ubiquitous in our lives and their impact on romantic relationships is complex and controversial. One field and three lab studies show that fantasizing about sex produces a devaluation of romance which, in turn, demotivates individuals to engage in romantic relationship as the latter demands too much effort.\n\n4. The Push and Pull of Attachment Styles on Romantic Consumption\nMartin Mende, Florida State University, USA* Maura Scott, Florida State University, USA Aaron Garvey, University of Kentucky, USA Lisa Bolton, Pennsylvania State University, USA\nHow and why people engage in romantic consumption is not fully understood. Two studies examine the impact of attachment styles on romantic consumption (e.g., romantic movies, weddings) and find that attachment anxiety stimulates romantic consumption and attachment avoidance functions as a barrier. These effects are driven by emotional intimacy motives.","impression_tracking_id":null,"owner":{"id":4611397,"first_name":"Dr Lipi","middle_initials":null,"last_name":"Begum","page_name":"DrLipiBegum","domain_name":"ucl","created_at":"2013-06-20T23:28:17.040-07:00","display_name":"Dr Lipi Begum","url":"https://ucl.academia.edu/DrLipiBegum"},"attachments":[],"research_interests":[],"urls":[{"id":7744896,"url":"http://www.acrweb.org/acr/Public/index.aspx%20%20http://www.acrweb.org/acr/assets/ACR2016_Program.pdf"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-29909577-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="28646142"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/28646142/Modern_but_not_Western_Deconstructing_the_Power_and_Postcolonial_Meanings_of_Lingerie_in_Urban_India"><img alt="Research paper thumbnail of Modern but not Western: Deconstructing the Power and Postcolonial Meanings of Lingerie in Urban India" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title">Modern but not Western: Deconstructing the Power and Postcolonial Meanings of Lingerie in Urban India</div><div class="wp-workCard_item"><span>Consumer Culture Theory Conference, Lille, France</span><span>, 2016</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="28646142"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="28646142"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 28646142; 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The project included developing Better Work and Standards (BEST), a Long Term Plan for Textiles Training (LPTT), Ecotextiles innovation (banana and pineapple fibres, natural dyes, curriculum innovation) and a National Performance Cluster. The project was part of the Better Work and Standards (BEST) initiative: a programme funded by European Union (EU), Norwegian Agency for Development Cooperation (NORAD) & Government of Bangladesh and implemented by United Nations Industrial Development Organization (UNIDO) and Government of Bangladesh. 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Fashion Studies is an interdisciplinary field of research that has been producing an extensive repertoire of theories, analyses and enquiries.<br /><br />ISSN 20517106 , ONLINE ISSN 20517114<br /><br />Volumes and Issues edited:<br />4.2, 5.1, 5.2, 6.1 and 6.2</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="38477068"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="38477068"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 38477068; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=38477068]").text(description); $(".js-view-count[data-work-id=38477068]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 38477068; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='38477068']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=38477068]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":38477068,"title":"Open Space and Reviews Editor","translated_title":"","metadata":{"abstract":"The International Journal of Fashion Studies is a scientific peer-reviewed journal that fosters the worldwide diffusion of Fashion Studies. 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Philadelphia: Temple University Press, 2016;<br />pp. 261, $32.95 paper; $84.50 cloth; $32.95 ebook.<br /><br />Book review appeared in: special issue on ‘Queerness, Intersectionality, Fashion’ QED: A Journal in GLBTQ Worldmaking<br />4.3, Fall 2017, Michigan State University Press.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="35919848"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="35919848"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 35919848; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=35919848]").text(description); $(".js-view-count[data-work-id=35919848]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 35919848; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='35919848']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=35919848]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":35919848,"title":"Book Review of: Fashioning Diaspora: Beauty, Femininity, and South Asian American Culture. 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Key industry partners include leading Fashion, Textiles and...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">, and the Victoria and Albert Museum. 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The chapter includes an outline of the articles in the book and how they contribute to the emerging field of South Asian dress cultures. Paperback, Ebook and Hardback available to order at: <a href="https://www.bloomsbury.com/uk/styling-south-asian-youth-cultures-9781350154070/" rel="nofollow">https://www.bloomsbury.com/uk/styling-south-asian-youth-cultures-9781350154070/</a></span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="91720132"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="91720132"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 91720132; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=91720132]").text(description); $(".js-view-count[data-work-id=91720132]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 91720132; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='91720132']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=91720132]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":91720132,"title":"Style, Fashion And Media In South Asian Youth Cultures","translated_title":"","metadata":{"abstract":"An extended essay discussing the field of style, fashion and media in contemporary South Asian youth cultures. 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The paper articulates the ways in which middle-class women's social realities are shaped by historical, colonial and nationalist ideologies of modernization, constructed and mediated through moral codes of dressing. By drawing upon original and contemporary empirical narratives from the urban spaces of Delhi and Mumbai, we emphasise how everyday sartorial choices, in relation to particularly the bra and lingerie, can reveal the nuanced ways in which Urban Indian Professional Women (UIPW) seek to understand, negotiate, and resist patriarchal power. Our findings shed light on conflicting and contradictory spatial experiences, where some women internalize and negotiate moral codes of dressing, out of fear, and others who transgress are subject to sanctions. Given the paucity of scholarly literature in this area, the paper makes an important theoretical and empirical contribution with its focus on postcoloniality and everyday discursive material spaces of gendered and sexualized dress practices. It argues for the consciousness raising of everyday urban geographies of dress that reveal complicated structures of power that are often deemed hidden.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="90a1604e9c9c3234ab0ed09f4da2cb4a" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":94926390,"asset_id":91720131,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/94926390/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="91720131"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="91720131"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 91720131; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=91720131]").text(description); $(".js-view-count[data-work-id=91720131]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 91720131; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='91720131']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "90a1604e9c9c3234ab0ed09f4da2cb4a" } } $('.js-work-strip[data-work-id=91720131]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":91720131,"title":"Crossing boundaries: bras, lingerie and rape myths in postcolonial urban middle-class India","translated_title":"","metadata":{"publisher":"Informa UK Limited","grobid_abstract":"With the processes of modernization, urbanization and the entry of women in the formal labour market in Indian metropolitan spaces, this paper examines how the modern middle-class woman's sartorial choices become enmeshed in popular rape myths (false beliefs) that serve to blame her for the wearing of western clothing. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-91720131-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="91720130"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/91720130/Neorealism_the_Bra_and_the_New_Indian_Woman_in_Satyajit_Ray_s_The_Big_City"><img alt="Research paper thumbnail of Neorealism, the Bra and the New Indian Woman in Satyajit Ray’s The Big City" class="work-thumbnail" src="https://attachments.academia-assets.com/94926388/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/91720130/Neorealism_the_Bra_and_the_New_Indian_Woman_in_Satyajit_Ray_s_The_Big_City">Neorealism, the Bra and the New Indian Woman in Satyajit Ray’s The Big City</a></div><div class="wp-workCard_item"><span>Fashion Theory</span><span>, 2019</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Through the filmic lens of West Bengali director Satyajit Ray's masterpiece the The Big City (Mah...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Through the filmic lens of West Bengali director Satyajit Ray's masterpiece the The Big City (Mahanagar 1963), this article focuses on the symbolic meaning of the bra in postcolonial India. It reveals the ways in which the semi-hidden bra in the film functions as a contested site of patriarchal Indian modernity versus euro-western modernity, and in the style of neorealist cinema a utopia of postcolonial and postnational feminine agency. Through textual analysis, the article delves into the influences of Italian neorealist cinema on Ray's aesthetic choices and compares power, dress and femininity across western and non-western contexts. Articulating cultural similarities, differences and how dream-like cinematic narratives of everyday practices of power dressing provide a window into neoliberal performativity and utopian ambitions for feminine agency during periods of modernization and change.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="e5035d0a5b3d5e015b26f5d46adb194a" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":94926388,"asset_id":91720130,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/94926388/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="91720130"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="91720130"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 91720130; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=91720130]").text(description); $(".js-view-count[data-work-id=91720130]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 91720130; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='91720130']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "e5035d0a5b3d5e015b26f5d46adb194a" } } $('.js-work-strip[data-work-id=91720130]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":91720130,"title":"Neorealism, the Bra and the New Indian Woman in Satyajit Ray’s The Big City","translated_title":"","metadata":{"publisher":"Informa UK Limited","grobid_abstract":"Through the filmic lens of West Bengali director Satyajit Ray's masterpiece the The Big City (Mahanagar 1963), this article focuses on the symbolic meaning of the bra in postcolonial India. 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It reveals the ways in which the semi-hidden bra in the film functions as a contested site of patriarchal Indian modernity versus euro-western modernity, and in the style of neorealist cinema a utopia of postcolonial and postnational feminine agency. Through textual analysis, the article delves into the influences of Italian neorealist cinema on Ray's aesthetic choices and compares power, dress and femininity across western and non-western contexts. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-91720130-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="91720129"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/91720129/Contemporary_South_Asian_youth_cultures_and_the_fashion_landscape"><img alt="Research paper thumbnail of Contemporary South Asian youth cultures and the fashion landscape" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title">Contemporary South Asian youth cultures and the fashion landscape</div><div class="wp-workCard_item"><span>International Journal of Fashion Studies</span><span>, 2015</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">In this article we reflect on the timely dialogue which took place to address how economic growth...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">In this article we reflect on the timely dialogue which took place to address how economic growth and the expanding middle-class youth population in South Asia (Afghanistan, Bangladesh, Bhutan, India, Maldives, Nepal, Pakistan and Sri Lanka) influences sartorial identities. This working note is based on an ongoing research project: ‘South Asian Youth Cultures and Fashion’ and the related symposium at the London College of Fashion, which explores how South Asian sartorial identities have been previously classified and how they are changing in the face of an increasingly globalized world. The conversations which took place reiterated the very reason why the symposium was organized. Whilst there has been some study of South Asian fashion and dressing cultures within history, anthropology and its diaspora, little work has looked at the transnational implication of the changing cultural, economic and fashion education environments on dress cultures on youth.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="91720129"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="91720129"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 91720129; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=91720129]").text(description); $(".js-view-count[data-work-id=91720129]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 91720129; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='91720129']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=91720129]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":91720129,"title":"Contemporary South Asian youth cultures and the fashion landscape","translated_title":"","metadata":{"abstract":"In this article we reflect on the timely dialogue which took place to address how economic growth and the expanding middle-class youth population in South Asia (Afghanistan, Bangladesh, Bhutan, India, Maldives, Nepal, Pakistan and Sri Lanka) influences sartorial identities. 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This working note is based on an ongoing research project: ‘South Asian Youth Cultures and Fashion’ and the related symposium at the London College of Fashion, which explores how South Asian sartorial identities have been previously classified and how they are changing in the face of an increasingly globalized world. The conversations which took place reiterated the very reason why the symposium was organized. 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Lipi has worked as a consultant for the United Nations Better Work in Textiles and Garments project in Dhaka, Bangladesh and is part of the Oitij-jo FDTC (Fashion, Design and Textiles Collective) strategic advisory team.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="d5d79e699712a95a4ee96160e9d6f494" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":94926369,"asset_id":91720120,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/94926369/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="91720120"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="91720120"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 91720120; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=91720120]").text(description); $(".js-view-count[data-work-id=91720120]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 91720120; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='91720120']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "d5d79e699712a95a4ee96160e9d6f494" } } $('.js-work-strip[data-work-id=91720120]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":91720120,"title":"Beyond the creative class, mapping the collaborative economy of Bangladeshi creative industries: Case study of Oitij-jo","translated_title":"","metadata":{"publisher":"Informa UK Limited","grobid_abstract":"She is co-editor of the book Styling South Asian Youth Cultures and Fashion, IB Tauris (2017) and is Reviews Editor for the International Journal of Fashion Studies (Intellect). 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Afghanistan, Bangladesh, Bhutan, India, Maldives, Nepal, Pakistan and Sri Lanka have all, in related and distinctive ways, been producing confident young fashion consumers, who are proving to be an important market for fashion. This book explores South Asian youth cultures and fashion across the countries of this region and their diasporas from a transnational perspective. Through visual and textual analysis of film, photography and digital cultures, as well as ethnographic fieldwork, the expert contributors look at how gender, sexuality, class, the media and faith intersect with and style youth cultures. 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This critical marketing studies thesis adds to the existing studies of lingerie to argue that little is understood about the social meanings behind the growth in lingerie in India. It analyses the ways in which lingerie is instrumental to how urban Indian women sartorially negotiate colonial and national tensions of sexual identity. An interdisciplinary conceptual framework utilising Foucauldian power and an original application of Saidian orientalism are used to critique lingerie advertising practices in India and its implications for developing the discourse of cross-cultural consumer behaviour for postcolonial contexts. An interdisciplinary, interpretive, qualitative, mixed methods case study approach was undertaken in the urban Indian cities of Delhi and Bomba...</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="68969218"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="68969218"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 68969218; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=68969218]").text(description); $(".js-view-count[data-work-id=68969218]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 68969218; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='68969218']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=68969218]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":68969218,"title":"The Power and Postcolonial Meanings of Lingerie for Urban Professional Indian Women Living In India","translated_title":"","metadata":{"abstract":"The purpose of this research is to investigate the power and postcolonial meanings of lingerie for urban Indian professional women (UIPW) living in India to better understand the consumer behaviour of lingerie consumption. 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