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What should we wear to save the Earth from ourselves? In the wake of erratic climate change and a rapid decline in biodiversity and cultural diversity throughout the globe, ecofashion [...]

Through serialized fiction, the fashion lithograph and the history of dress, the rhetorical force of the written garment as it pertains to late nineteenth-century Argentina are examined. Female emancipation on fashion columns of La Ondina del Plata and of Oasis en la vida is discussed.

Understanding the power of art to shape and guide debates on diversity, inclusion, and belonging at the university, this article takes as its point of departure a donation that centers critically acclaimed artist Roser Bru within a larger community conversation and educational endeavor. With an aim to speak to representation and democratic values, the authors analyze the overlapping thoughts and disconnects of three select stakeholders who have wrestled with what to hang on the university walls: a Donor, a Curator, and an Artist in Residence. Those interviewed represent distinct vantage points, each from a different constituency within and outside the university. This article unpacks an unexpected intellectual conundrum: At the University analyzed, current stakeholders guiding museum collections and selecting art for display on the walls seemed to challenge the representation of historically marginalized groups. Further, a generalized lack of understanding of matters beyond the borders of the United States makes it all the more challenging to speak to Roser Bru's paintings. Art can begin a conversation about belonging and human rights. These preliminary research findings suggest that a process engaging human subjects and their connections to cultural history can bring about reflection. This article ends with self-assessments by each of the authors, recognizing the unfinished nature of this work as part of a larger engagement on one's own campus and across universities. [ABSTRACT FROM AUTHOR]

Responding to the 2020 COVID-19 pandemic, when news of quarantines, shutdowns, and sheltering-in-place mandates abounded, the organizers of the tenth fashion congress of Ixel Moda in Cartagena, Colombia, decided collectively to develop the content for an unprecedented five-day, 3-dimensional virtual gathering that brought together artisans, designers, chefs, scholars, and other creators from throughout the globe. The event would provide the scenario for exchanges on many facets of Latin American culture--food, music, film, fashion, politics, museum exhibits, performance, decorative arts, sustainability, tourism, and advertising--in the midst of a difficult period. This essay explores Ixel Online 2020 as a showcasing of the creative arts, includes the voices of the cultural organizers, and proposes this event as a model for increased international dialog during a global crisis. [ABSTRACT FROM AUTHOR]

An introduction is presented in which editor various articles within the issue on topics including dress collections, cross-cultural dimensions of fashion and impact of fashionable images.

The article discusses ethical approaches to fashion design and clothing production in Argentina. Topics addressed include the role of Argentina's Dirty War from 1976 to 1983 and subsequent democratization efforts in influencing the country's clothing industry, as well as public protests, known as "escraches," against child labor and slave labor conditions in the fashion industry. The author also discusses the implications of the Argentine government's Mercado de Industrias Culturales Argentinas (MICA) meetings.

The article presents an introduction to the special issue on Latin American fashion in which the editor discusses articles on topics such as the relationship between cultural memory and women's fashion in Chile, male fashion and uniforms in Costa Rica, and the relationship between fashion and development.