Publication:
Fabricated Consumption: Desire and Affect in the Fashion Industry

ac.person.orcid 0000-0002-8843-8589
ac.person.orcid 0000-0001-6282-0491
ac.person.position HDR Student
ac.person.position Staff
ac.person.position Staff
dc.contributor.advisor Sharpe, Scott
dc.contributor.advisor Tranter, Paul
dc.contributor.author Mojel, Breeze
dc.date.accessioned 2022-02-02T03:32:39Z
dc.date.available 2022-02-02T03:32:39Z
dc.date.issued 2022
dc.description.abstract Since the 1990s the fast fashion industry has garnered a reputation for the use of exploitive and unethical practices, prompting an enquiry into the fashion industry by geographers, particularly regarding the exploitation of workers within developing nations. However, despite focused efforts to eliminate the unethical practices that have become so synonymous with fast fashion, only small improvements have been made. Academics acknowledge consumers have a key role to play in fashion’s current problematic state yet attempts to actualise consumers as key actors in the industry’s upheaval have produced lacklustre results producing a shift in focus back to the brands and host countries. Taking seriously Gilles Deleuze’s statement that every ‘problem has the solution it deserves in proportion to its own truth or falsity’ (Deleuze & Guattari, 1994, p. 159), the lack of movement on this issue is in part due to the questions being posed to it. Rather than questioning how to reconstitute fast fashion to exist within a morally acceptable framework, first both fashion and ethical production need to be separately dissected into their composites so as to identify and critique their assumptions and generalities. In following this approach, fashion’s genesis as both commodity and cultural phenomenon is re-examined through the works Gilbert Simondon and Gillies Deleuze, providing a basis for fashion as both an aesthetic object of sensation and desiring-machine. Here fashion’s productive nature is elucidated. Through the amplifying nature of aesthetics, I outline how fashion’s engagement is more than a tool for reproducing and solidifying concurrent collective thought or fulfilling a desire produced through a perceived feeling of lack, but a productive medium for novel individuations, new subjectivities, and the ability to produce a more active or joyful existence. Finally, seen in such a way, we can examine ways to reposition the question of fashion and ethical manufacture so that it does not immediately cut off those affected by the fashion industry, from their capacity to act leading to a more ethical industry.
dc.identifier.uri http://hdl.handle.net/1959.4/100052
dc.language English
dc.language.iso en
dc.publisher UNSW, Sydney
dc.rights CC BY 4.0
dc.rights.uri https://creativecommons.org/licenses/by/4.0/
dc.subject.other Fashion
dc.subject.other Desire
dc.subject.other Deleuze
dc.subject.other Simondon
dc.subject.other Affect
dc.subject.other Ethical Consumption
dc.subject.other Ethical Production
dc.subject.other Non-representational Theory
dc.subject.other Anti-hylomorphism
dc.subject.other Desiring Machine
dc.subject.other Aesthetic Integration
dc.subject.other Design Theory
dc.title Fabricated Consumption: Desire and Affect in the Fashion Industry
dc.type Thesis
dcterms.accessRights open access
dcterms.rightsHolder Mojel, Breeze
dspace.entity.type Publication
unsw.accessRights.uri https://purl.org/coar/access_right/c_abf2
unsw.identifier.doi https://doi.org/10.26190/unsworks/1961
unsw.relation.faculty UNSW Canberra
unsw.relation.school School of Science
unsw.relation.school School of Science
unsw.relation.school School of Science
unsw.subject.fieldofresearchcode 440601 Cultural geography
unsw.thesis.degreetype PhD Doctorate
Files
Original bundle
Now showing 1 - 1 of 1
Thumbnail Image
Name:
public version.pdf
Size:
2.12 MB
Format:
application/pdf
Description:
Resource type