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Fashion through
History
Fashion through
History:

Costumes, Symbols,
Communication
(Volume I)

Edited by

Giovanna Motta and Antonello Biagini

Fashion through History:
Costumes, Symbols, Communication (Volume I)

Edited by Giovanna Motta and Antonello Biagini

This book first published 2017

Cambridge Scholars Publishing

Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK

British Library Cataloguing in Publication Data

A catalogue record for this book is available from the British Library

Copyright © 2017 by Giovanna Motta, Antonello Biagini and contributors

All rights for this book reserved. No part of this book may be reproduced,
stored in a retrieval system, or transmitted, in any form or by any means,
electronic, mechanical, photocopying, recording or otherwise, without
the prior permission of the copyright owner.

ISBN (10): 1-5275-0344-5

ISBN (13): 978-1-5275-0344-1
 TABLE OF CONTENTS

Introduction ................................................................................................ xi
Fashion in Historical Perspective
Giovanna Motta

Chapter One
From Antiquity to the Ancien Régime

Dress and Culture in the Hittite Empire and during the Late Hittite Period
according to Rock Reliefs............................................................................ 2
Murat Turgut

Clothing in Medieval Scandinavia: Social and Legal Implications ........... 14

Carla Del Zotto

Court Clothes of the Sixteenth Century in the Romanian Principalities .... 23

Ana-Maria Moisuc

Poupées de Mode: The Fashion Exchanges of Early Modern Europe ....... 31

Samantha Maruzzella

Foreign Travelers on Romanian Clothing in Eighteenth Century

Wallachia and Moldavia ............................................................................ 44
Mihaela Grancea

Glamour and Style in Mid-Nineteenth Century Russia: Family Education

and Italian Allure in the Character of a Princess........................................ 57
Paolo De Luca

Chapter Two
The Centuries of the Bourgeoisie

Fashion and Trends at the Tsar’s Court from Peter the Great
to Nicholas II ............................................................................................. 68
Elena Dundovich
vi Table of Contents

Uniforms and Hats: The Reality and Symbols on Austro-Hungarian

Uniforms .................................................................................................... 80
Alessandro Vagnini

Leisure and Fashion in Transylvania at the End of the Nineteenth

Century: The Romanian Case .................................................................... 88
Cornel Sigmirean and Maria Tătar-Dan

Between Tradition and Modernism: Romanian Fashion Reviews

at the Beginning of the Twentieth Century ................................................ 98
Giuseppe Motta

The Decline of the Habsburg Empire through its Fashion........................110

Cesare La Mantia

Chapter Three
Soviet Fashion

La Maison Moscou: Some Considerations on Fashion in the Soviet

Union ........................................................................................................118
Andrea Giannotti

Dress of a New Man: A Concept of Socialist Fashion in the Polish

People’s Republic of the Early 1950s ...................................................... 130
Magdalena Pasewicz-Rybacka

From Sweatpants to Mini-Skirt: Fashion in Czechoslovakia

from 1945–1968 ...................................................................................... 140
Zuzana Šidlíková

Chapter Four
Traditional Costume

Imagery of Cathay: Chinese Costumes in the Eyes of Early European

Missionaries............................................................................................. 150
Silvano Mo Cheng

The National Dimension of Fashion: Women’s Traditional Garments

as a National Symbol in Romanian Society............................................. 156
Georgeta Fodor
 Fashion through History Volume I vii

Greece: The Traditional Costume that Made History .............................. 168

Elena Dumitru

Dress and Identity: A Georgian Case Study............................................. 177

Mariam Chkhartishvili, Sopio Kadagishvili and Zurab Targamadze

The Circassians (Adyghe): The Symbolic Meaning of the Caucasus

Mountains ................................................................................................ 189
Emilia Sheudzhen and Ruslan Tleptsok

Cultural Identity and Fashion: We are What We Dress and Vice Versa ... 200
Emma Gago Sánchez

Costumes and Customs as Modes of Identification in the Balkan

Peninsula ................................................................................................. 207
Volodia Clemente

The Romanian Traditional Blouse Ia: A Cultural Identity Passport ........ 215
Liliana ğuroiu

Chapter Five
Dressing your Faith

The Color Blue in the Liturgical Vestments of the Middle Ages:

Fact or Fiction? An Iconographic Analysis.............................................. 226
Rafaá OjrzyĔski

The Relationship between Clothing and Religious Identity for Monks

and Hermits in the Middle Ages .............................................................. 235
Umberto Longo

Chasubles and Cassocks: Between Tradition and Innovation ................. 241

Antonello Battaglia

The Reform of Ecclesiastical Clothing and the Vatican II Council ......... 250
Marco Iervese

Turkey’s Headscarf Issue Unveiled: Fashion, Politics and Religion ....... 263
Iulia-Alexandra Oprea
viii Table of Contents

Chapter Six
Youth Culture, Counterculture, and Marginality

Court of Miracles, Charity, Contempt: Beggars and Mendicants

from the Middle Ages to Modern Times.................................................. 274
Alessandro Pistecchia

Beat is Rebellion. Beat is Rhythm. Beat is Fashion ................................ 284

Roberto Sciarrone

Haute Couture and Science Fiction: Space Fashion during the Sixties
and Seventies ........................................................................................... 291
Valentina Mariani

The Tattoo Trend and Ephemeral Appeal ................................................ 301

Alessandra Castellani

Chapter Seven
Fashion, Health and Sustainability

Fashionability and Comfort: Designing Chemotherapy Uniforms

to Enhance the Well-being of Patients and Oncology Nurses.................. 312
Dana Connell and Amanda Huff

Ethical Fashion as a Post-Postmodern Phenomenon ............................... 326

Laura Bovone

The Cosmetics Industry: Market Evolution and Customer Behavior ...... 337
Martina Musarra, Carlo Amendola and Raffaella Preti

Chapter Eight
Fashion Theory

A History of Waste: Fashion, Culture and Luxury as a Clash between

Democratic and Elitist Forces.................................................................. 348
Nello Barile

Fausto Squillace: The Fashion Proto-Sociologist .................................... 359

Angelo Romeo
 Fashion through History Volume I ix

The Trans-Disciplinarity of Fashion Theory: Identity, Language, Media... 367

Patrizia Calefato

C. Garve and N. Elias: Two Interpretations of Fashion and Costume ..... 379
Anna Maria Curcio

How is Fashion Possible?: A Relational Analysis of Fashion as a Form

of Social Life ........................................................................................... 387
Davide Ruggieri

The Contemporary Fashion System......................................................... 399

Bianca Terracciano

Fashion as a “Scientific Poem”: The Semiotic Studies of Greimas

and Barthes .............................................................................................. 408
Isabella Pezzini

When Crisis is Fashionable: Ethnicity, Pauperism and Environmentalism

as Value.................................................................................................... 418
Emanuela Ferreri

Fashion and Modernity: The Mixture of Love and Luxury in Werner

Sombart ................................................................................................... 428
Roberta Iannone

The Laws of Fashion ............................................................................... 437

Victor Aquino

Real Clothing and Performativity: An Extension of Roland Barthes ...... 448

Gabriela Muñagorri Mendiola

Chapter Nine
Language, Media and Advertisements

Cool and the Gang: The Everlasting Fashion of an Unfashionable

Word ........................................................................................................ 460
Fabiana Giacomotti

Habits of Power in Period/Fantasy TV Series ......................................... 469

Luisa Valeriani
x Table of Contents

Politeness and Impoliteness in Fashion Advertisements in Spanish ........ 479

Laura Mariottini

Slow Motion: Images of Women in Vogue Italia’s Fashion

Advertisements over the Last Fifty Years ................................................ 496
Paola Panarese

Fashion Brand Searchability: From TV Series to Audience Online

Interaction ................................................................................................ 508
Romana Andò
 ETHICAL FASHION AS A POST-POSTMODERN
PHENOMENON

LAURA BOVONE

The aim of this essay is to follow the phenomenon of fashion from

modernity to post-modernity and on to its present day developments: in
particular from a time when nobody would have spoken of ethical-
responsible-sustainable fashion to a time when this may be the core of
fashion debate.
The second outcome of this attempt is found in the possibility of
showing the limits of this modern/postmodern bipolarity. A new era
appears to be coming when we can finally get rid of these no longer useful
categories; ethical fashion is a particular signal of this change.
This is clearly a theoretical approach to fashion that needs to be
supported by empirical documents and data. In particular, I mean to offer a
socio-cultural perspective on the fashion world, but a couple of events will
stay in the background despite their heavy structural impact on our lives
and fashion: the development of Web 2.0 from 2000 onwards and the
global economic crisis after 2008.1

From modernity to postmodernity and beyond

The postmodern era has often been described as being ruled by the
aesthetic imperatives of the image of culture. This means that emotion and
taste, which modernity has confined to the margins of its rational and
productive worldview, have gain new force and consideration. Human

1
Most of the examples and quoted interviews were collected during the ongoing
survey “Sustainable practices of everyday life in the context of crisis: toward the
integration of work, consumption and participation,” funded by MIUR-PRIN
2010-2011 and coordinated by Laura Bovone (Università Cattolica di Milano), in
collaboration with the universities of Milan (coord. Luisa Leonini), Bologna
(coord. Roberta Paltrinieri), Trieste (coord. Giorgio Osti), Molise (coord. Guido
Gili), Rome, “La Sapienza” (coord. Antimo Farro), Naples, Federico II (coord.
Antonella Spanò).
 Laura Bovone 327

beings, no longer thinking themselves able to govern and improve nature,

have started to think about the waste produced by industrialization and
released into the environment. Modern work ethics seem not to be as
important in a world that has made inroads into the nightmare of poverty
and reached higher levels of consumption. If the aesthetic sphere,
concerning both consumption and fashion choices, was assigned to women
in modern times, postmodernity appears to enhance women’s space, not
only in the enormous variety of goods at their disposal, but also in the
aesthetization of a great part of production (Jameson 1991). For both
genders, the new postmodern era is a time of choices with freer
participation in the many experiences at their disposal, away from the
moral rules of the past and towards a personal and emotional construction
of what can be considered a good life.
Clothing, in particular, seems to have lost its ostentatious role along
with with its ability to confirm the social position of the family (Crane
2000) and helps dreams of beauty or desires for masquerade. Street styles
and, more generally, the flourishing of “oppositional dress” (Wilson 2005)
draw a more complicated, but richer panorama:

“In a social universe of fixed hierarchies … the role of clothing is

unambiguous and limited. In contemporary westernised societies, however,
fixed hierarchies no longer provide such clear depictions of order, and so
clothing often functions to obscure a person’s rank. Fashion becomes a
masquerade. Instead of positioning individuals in a fixed social universe, it
promises to fulfil their desires to perform multiple social identities”
(Finkelstein 1998, 41).

Recent phenomena have highlighted the emerging limits of the

postmodern narrative in general, and in the field of fashion in particular.
Fashion is, in fact, one of those “aesthetic markets” where economic
rationality and taste are intertwined and both producers and consumers
make their choices (Entwistle 2009). Furthermore, the ethical-slow-
sustainable fashion movement proves that our social imaginary can be
enriched with an unexpected, ethically driven capacity through which we
combine aesthetic innovation with care for global social justice and a
healthier life.
328 Ethical Fashion as a Post-Postmodern Phenomenon

Bipolar narratives of
Modernity Postmodernity
rationality image, emotion, ambivalence
industrial progress (mastering nature) ecology (70s Æ)
work ethic (masculine) consumption (feminine)
gendered division of labor world feminization/aesthetization
conformism experiences
Fashion
work/class-related clothing (hat) dream, masquerade (t-shirt)
top-down fashion street styles, oppositional dress

Fair consumption and ethical fashion

Ethical fashion is probably the most comprehensive way of speaking
about production and consumption of clothing that is able to synthesize: a
desire for beauty; a search for tranquility; a moral sense; beauty and
health; our future and that of our children; consumption and safe
production. It tries to combine instances of sustainability and responsibility
with our aesthetic dreams. Therefore, it marks both the peak of postmodern
ambivalence and the exit from a pure postmodern aestheticism.
We can say that ethical fashion has developed in a general cultural
climate created by the debate concerning responsible consumption. This
cultural turn is boosted by new relationships between producers and
consumers. The latter, now more informed about the near and future
dangers connected to large sectors of industrial production and supported
by the internet from the mid-1990s onwards, gather in associations and
boycott-buycott movements, volunteer in fair trade initiatives and social
cooperatives, and create urban circuits where small ethical producers and
retailers are encouraged. The language of consumption engages at a level
that can be easily understood and happily shared; women turn out to be
heavily involved and the chief perotagonists of fashion—they become the
protagonists of acts of political consumerism (Micheletti 2003; Bovone
and Mora 2007). As we can see, social responsibility responds to a wider
feeling predating the Corporate Social Responsibilitty (CSR) policies of
fashion companies, and generating them too.
Fashion starts in the postmodern climate under the influence of
feminist and ecologist movements and an awareness of the limits of
overconsumption. In recent decades, organized initiatives have grown in
number and size—to fair trade shops and the recovery and resale of
second-hand garments, we can add; social cooperatives organizing fashion
laboratories for women in prisons or in faraway favelas; and the organic
 Laura Bovone 329

production of textiles (Lunghi and Montagnini 2007; Lunghi 2012).

Informal pressure, boycott campaigns, such as the memorable one against
Nike in the 1990s, the long anti-fur season (Skov 2005), and the push by
big networks like Clean Clothes, also draw in segments of mainstream
production and distribution. The commitment of social cooperatives after a
certain time drags fashion brands into philanthropic enterprises. Organic
and fair trade labels have become recognized brands in themselves.
Consumer movements and big campaigns, as well as the circulation
and diffusion of certificated responsible goods, have increased because of
the web. Postmodern culture is emotional and we start speaking of ethical
fashion when the search for an aesthetic combines with the acknowledgement
of risk and sustainability or fears for our health and for exploited
producers. Consumer initiatives are a means to effect partial change of
consumer/producer relationships and the general configuration of the
supply chain. Consumers still desire and accumulate garments for
individual possession and feel persecuted by advertisements and prices;
designers and producers always have the last word. Communicators are
the official intermediaries and gatekeepers between them.
Moreover, there is criticism of ethical fashion as not just a niche
market, but also an impossible market (Crane 2015; Tseëlon 2011). Eco-
labels are not widespread nor easy to read. The higher prices involved are
an obstacle as well. Fast fashion production is mostly far from ethical, but
constitutes a big part of the market, the products of which are very quickly
disposed of in landfills (this is why ethical fashion is often called “slow”
fashion). As far as CSR is concerned, critics have demonstrated that many
philanthropic initiatives pretending to be forms of engagement with the
developing world are actually part of marketing campaigns designed to
please socially conscious consumers. Companies can appear to be actively
trying to fix inequality while their real objectives are effective communication
and capital growth. Accordingly, in most cases, we are seeing a sharp
separation between design know-how, located in the developed West, and
manual work, located in less developed countries. That is why ethical
fashion is heading towards a stronger engagement with community
development problems, including attempts to involve communities at the
decision-making level (Solomon 2015).

Ethical fashion and the sharing economy

At the start of the new millennium, the passage from web 1.0 to web
2.0 opened up a new era and new possibilities for ethical
production/consumption and ethical fashion. Since 2008, the ethical side
330 Ethical Fashion as a Post-Postmodern Phenomenon

has been openly theorized around collaborative practices, communities of

producers and consumers, and shared decisions and benefits. With the
most recent economic crisis, we have entered the era of the sharing
economy (Belk 2010; Schor 2014); this harks back to a past utopia of
decentered production where the means/machines of production are no
longer in capitalist hands, but are cheap and user-friendly enough that
groups of consumers can use them to make their own objects.
The Makers’ Movement (Gauntlett 2011) has rediscovered the
opportunity of realizing their ideas through low-cost technologies, open
source software and social networks. They operate by connecting virtual
spaces with real labs or co-working spaces. They often combine 3D
fashion production with craftsmanship (Sennet 2008), heading towards
different forms of small scale and on demand production, or even
“prosumption”—production not for the market, but for personal or family
use, which in the online age can occur on an unprecedented scale and with
unprecedented modalities. Blogs, YouTube and Facebook can certainly
exploit consumers, but they can also help them reach new objectives: they
are means of consumer production (Ritzer 2013).
Digital fashion and sharing are emerging phenomena and show a
variety of combinations (Mazzucotelli 2016). The sharing economy
includes a large group of activities, like co-working, cohousing, bartering,
making-together, crowdfunding, and crowdsourcing—all these practices
need a certain digital competence. Apart from cohousing, all of them can
more or less be applied in the field of fashion where the digital channel
concerns not only the obvious activities of communication and
distribution, but also those of creativity and manufacturing through
crowdsourcing, crowdfunding, and making.
The logic of access, instead of possession, can be found in the
activities of swapping or purchasing second-hand; even more so at the
level of shared technologies. Through 3D production digital craftsmanship
or making overcomes the distance that has long kept those who design,
those who produce, and those who consume fashion apart. Collaboration
and prosumption aim to achieve economic-ecological-social sustainability,
multiplying situations to reduce the modern phantom of work alienation.
The same can be said for consumer alienation—George Ritzer (2013, 11)
speaks of “a revolutionary development.”
The spirit of the Makers can be found in the following excerpt from an
interview of one of the founders of WeMake, a coworking space in Milan
where both design and fashion items are produced:

“We seek solutions together. We work at a distance; we take inspiration and

improve the work already done by someone else. If you take an object
 Laura Bovone 331

produced by a 3d printer, perhaps self-assembled, it may be useless. But it

doesn’t have to be worthwhile in itself: even if its use value is very low, the
object, because of its production process, is a prototype that incorporates
the social relations that have been put in place to make it real. My goal is
to create here a community that is keen to invest, together with me, some
time to figure out a new way of doing things. Therefore, we have training
and educational activities….”

Not all sharing activities in fashion imply the social and even political
commitment observed in WeMake, which aims to gather different
professionals together in a new sort of social enterprise. Clearly
crowdfunding, which is about finding economic support or advance
purchasers for a new product (e.g., Wowcracy, an intermediary platform
created by a young and aggressive Italian team, registered in London), is
generally more business oriented; the same can be said for crowdsourcing,
where, in many cases, new solutions are not only welcomed, but even
paid, or openly exploited (e.g., Burberry’s Art of the Trench project, where
consumers are invited to upload photos of themselves wearing trenchcoats
to the official website). In both cases consumer adhesion turns out to be
decisive for production. Swapping activities are supposed to be mostly
informal, but actually range from the transnationally structured and totally
for-profit Rentez-Vous platform, to the small family business run through
the website Reoose, and the locally based, but still partially economically
oriented Swap in the City (“Sure since I started swapping, I have changed
my relationship with things... before I used to care more about my things
… now I am more detached, I can more easily get rid of them because I
think that probably someone else can take advantage of something I keep
without using, so if I discard my dress, it is as if it had another life”), to the
more morally and socially oriented Gas or Il tuo armadio, an ethical
purchasing group based in Milan where a group of friends volunteer. In
repair and knitting circles, the social/political aim is often more important
than the economic aim (Minahan and Wolfram Cox 2007; Reiley and De
Long 2011).
To summarize, sharing activities imply a multilevel and multifunctional
entanglement and an important relational commitment: Gauntlett (2011),
recalling Ivan Illich (1973), speaks of conviviality. All this gives new
impetus to ethical fashion, which is a part of post-postmodern culture. The
following elements, either brand new or strongly increasing, in particular
should be noted: the paradoxical mix of very up to date technology and
traditional communitarian aspirations; the cross collaboration of design,
production, distribution, and consumption; the multifaceted search for
sustainability (through making, bartering, DIY and DIT, repairing,
332 Ethical Fashion as a Post-Postmodern Phenomenon

altering, knitting); the deprofessionalization of many functions through

social media networks, blogging activities, crowdsourcing, crowdfunding,
and a deeper engagement of local developing-world communities. All this
is clearly leading to a disintermediation of the supply chain, which will
considerably improve traceability within the fashion system.
Important values are implied here, from the fundamental question of
ownership to the principle of access and the search for more democratic
relationships and transparent processes.

Fashion and the ethical imagination

It is clear that a lot has changed in the first decades of the new
millennium—in ethical fashion as well.
All in all, postmodern culture focused on the present and was unable to
plan or even conceive of a better future. New technology obviously looks
towards the future, as does increasing disappointment with the world as it
is and a desire for change. Emotion, desire, and dreams are not enough to
fight against global economic and political crises and unsustainable
consumption generates uncontainable pollution, but also uncontainable
compassion (or fear of?) for the poorer parts of humanity. The new
millennium has gradually given life to a new type of imagination relating
to our aspirations for a better world more than an emotional postmodern
aestheticism.
Serge Latouche (2003) maintains that everybody must at least partially
abdicate their own privilege if they wish to survive the failure of the
Western economic system. What we know regarding the exploitation of
distant people and the damage to ecosystems leads us to assume
responsibility on a global scale. In order to resolve these problems, it is
necessary to “decolonize the imaginary”; decentralize decisions; engage
with the knowledge of communities and minorities thus far neglected; and
together find solutions in terms of equality and sustainability.
A few years before, Arjun Appadurai (1996) had presented imagination
as an engine offering an unhoped-for push to problematic development,
with its most visible product being the huge migratory flows of people.
Social actors found new forms of common life after having together
worked out an image of the future that not only seemed inaccessible to
prior generations, but also internally contradictory.
Following these scholars (and also inspired by Lash 1994), I use the
concept of Ethical Imagination (EI ) here.
We can think of a complex use of the imaginative ability, which has to
do with representation and appearance, and therefore with emotion and
 Laura Bovone 333

aesthetics, but that is also able to: synthesize a series of ethical and
cognitive elements; retain tradition and project itself into the future; create
feelings of belonging; and bring about new grassroots derived values that
are translatable into rational planning.
According to Appadurai, we can consider EI to be a cultural
elaboration acting within the social imaginary and drawing us towards big
epochal changes; in this case building a bridge between production and
consumption and transforming them into innovative fruitful “communities
of practice” (Wenger 1998).
As far as ethical fashion is concerned, we can consider it to be an effort
of imagining shared solutions for the difficult combination of aesthetic
innovation and social and the environmental sustainability of production
and consumption. That said, the new digital potential is important, but I
assume that at stake is something much more than collaboration through
digitization (Crewe 2012).
Attention to fashion has often been indexed as useless, if not immoral,
behavior. A similarly stigmatizing judgment has long been incumbent on
all consumption activities and usually contrasted with the virtuous activity
of production. Accordingly, the masculine work ethic has often been
contrasted with the (immoral) aesthetic of the female or young consumer.
Similarly, the productive mind-set of modernity and its work ethic are
contrasted to post-modern consumption.
My thesis is that fashion, the culture industry par excellence, is able to
assume a fundamental role in dismantling this dichotomous mentality of
modernity/postmodernity by highlighting its obsolescence and constitutive
weakness.

Contemporary culture and fashion:

overcoming polarization
Modern Postmodern Post-postmodern
rationality aesthetics ethics as conviviality
scarcity welfare economic crisis
Ego desire we
discourse emotion, image tradition+EI+project
(science, econ)
(alienated)production consumption collabor., consump./making,
prosumption
masculine work ethic feminine (immoral) shared objects and processes
aesthetics
utilitarian expressive sustainability,
individualism individualism shared creativity
Norms anything goes sociability
334 Ethical Fashion as a Post-Postmodern Phenomenon

distinctive aestheticÆethical ethical collaborative fashion

fashion fashion
factory shopping mall web 2.0 + fab-labs
digital + material

In this progression, postmodern aestheticism is overcome, but not

totally denied. Imagination appears to be able to challenge modern
dichotomies, as well as the opposition of the modern to the postmodern,
and even gender bias. Collaboration, responsible production, moderation,
and consumption build on the retrieval of tradition (in terms of slowness
and local and communitarian values), together with rationality and a
positive faith in creative imagination.
In this post-postmodern trend, a primary role is to be played by
women. Workplace communities and prosumption seem to be increasingly
central for women to gain new positions in society. This has to do with
feminine work styles, new independent jobs online, and the cooperative
organization of home produced goods and services. Prosumption, in
particular, blurring the boundaries between production and consumption,
can become a form of resistance and a step towards effective growth in
developing world contexts too.
Cosmopolitan, higher class women are increasingly achieving better
positions in all sectors where taste and status objects have traditionally
been produced and distributed by an overwhelmingly female workforce,
and they are, as we know, the most sensitive part of the population to the
values of responsibility. Women enliven the home circuits of loaning,
recycling and giving clothes, as well as non-profit enterprises and
cooperatives. At stake is work conceived and organized by women, done
by women, sold and communicated by women, and of course having
women as the final consumers, and consequently as critics and controllers.
Responsible/slow fashion is a part of the same culture that underpins slow
food, but extends this culture to a sector more highly colonized by
aesthetics and much farther from the problems of equity and health than
food (Clark 2008). Responsibility for sustainability seems to be less
obvious in fashion, but this does not make it any less important for the
overall expansion of the ethical imagination.

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