Sonic responses to garments and fabrics that explore the concept of Fashion Thinking. This text establishes Fashion Thinking as a new field of critical enquiry, utilizing the many ways fashion is made as a methodology with which to explore a range of contemporary cultural, political, economic, and social concerns. Taking its cue from earlier etymological definitions of fashion, understood as making, or bringing into existence, Fashion Thinking is inspired by the very act of fashioning. In the same way fabric can be fashioned into a coat--something produced from next to nothing--that same material can easily be unpicked and refashioned, even reworked into a completely new garment or object. Fashion Thinking is characterised by this potential, fluid state, approaching each new topic according to specific demands and desires, cutting its cloth and finding its voice accordingly--whether poetic, analytical, autobiographical, technical, or discursive.
Like fashion itself, Fashion Thinking is social, ludic, anticipatory, transformative, reciprocal, and aims beyond interdisciplinarity to a state of indisciplinarity. Such a term implies the state of being among disciplines, but also to be outside of or oblivious to them--indeed, unwilling to be "disciplined" per se, preferring instead the often turbulent, unruly, and invariably seductive margins where fields of activity overlap.
Taking the form of a guide to an imaginary fashion exhibition that ironically has no physical items on display,
The Sound of Fashion Thinking inhabits the space of the museum solely through sound. Each "chapter" or "room" carries a series of reflections and discussions on different aspects of fashion including its production, reception, dissemination, and development, all inspired by the sonic exhibits encountered therein.
《聲音對服裝和面料的反應，探索時尚思維的概念。》
這段文字將時尚思維確立為一個新的批判性研究領域，利用時尚製作的多種方式作為方法論，以探索一系列當代文化、政治、經濟和社會問題。時尚思維的靈感來自於早期對時尚的詞源定義，理解為創造或使之存在，時尚思維受到塑造行為的啟發。就像面料可以被製作成一件外套——從幾乎沒有的材料中產生的東西——同樣的材料也可以輕易地被拆解並重新塑造，甚至重新加工成一件全新的服裝或物品。時尚思維的特點在於這種潛在的流動狀態，根據特定的需求和渴望接近每一個新主題，裁剪其布料並相應地找到其聲音——無論是詩意的、分析的、自傳的、技術的還是論述的。
像時尚本身一樣，時尚思維是社會性的、遊戲性的、預期性的、變革性的、互惠的，並且旨在超越跨學科性，達到一種無學科性。這樣的術語暗示著在學科之間的狀態，但也意味著在學科之外或對其無知——事實上，不願意被「紀律」所束縛，而是更喜歡那些常常動盪不安、無法控制且無疑具有誘惑力的邊緣，這些邊緣是活動領域重疊的地方。
《時尚思維的聲音》以一個虛構的時尚展覽指南的形式呈現，諷刺的是，展覽中並沒有實體物品。這本書僅通過聲音佔據博物館的空間。每一個「章節」或「房間」都帶來一系列對時尚不同方面的反思和討論，包括其生產、接收、傳播和發展，所有這些都受到其中所遇到的聲音展品的啟發。
Jonathan Faiers is Professor of Fashion Thinking, University of Southampton, U.K., where his research examines the interface between popular culture, fashion and textiles. His publications include Dressing Dangerously: Dysfunctional Fashion in Film (2013), Fur: A Sensitive History (2020), and Tartan (2008), the conceptual framework for his role as consultant curator for the exhibition "Tartan" (2023) at V&A Dundee. Faiers co-curated "The Lore of Loverboy" (2024) at Somerset House, London, celebrating the career of fashion designer Charles Jeffrey. Training as a designer and a subsequent career in visual arts are fundamental to his interdisciplinary approach to teaching, writing, and curation.
