Ekaterina Kulinicheva offers her paper ‘Cultural Appropriation’ as a Tool in Modern Olympic Uniform Design: How It Is Used and Received. The author examines the specific range of visual tools that are used in the design of Olympic parade uniforms in order to pay homage to the host country or region. As a rule, these include adapting particular items of clothing, patterns or images associated with the cultural stereotypes linked with that country or region, or reproducing directly the designers’ particular vision of the local vestimentary ‘specialities’. These methods could be termed ‘Olympic cultural appropriation’. Kulinicheva’s research leads her to conclude that this group of tools corresponds to the function of Olympic parade uniform that could be termed ‘themed costume’, the theme being the host location. The ways in which these design methods are used are on the whole similar to the processes usually branded ‘cultural appropriation’ in cultural industries, especially where the designers are working with well-known cultural stereotypes. Olympic outfits, however, appeared and are used in a very different context to that which accompanies other items in the fashion industry, and this, most likely, explains the difference in attitudes towards these products. Whilst cultural appropriation within the fashion industry is today frequently subjected to criticism, the author failed to find any sources that would be critical of Olympic uniform in the same way. At the same time, the use in Olympic uniform design of symbols representing other cultures has at times been criticised for a different reason, due to its apparent contradiction of a key function of present-day Olympic uniform, that of visually asserting the national identity of the wearer. This would appear to show that this function of Olympic outfits, although it may not be the only one, is largely seen as the most important.
The paper is focused on the subway user's experience. Based on the field research of two subways in Russian cities (Moscow and Kazan), it supposes that modern urbanites are competent and skillful enough to manage their everyday experiences using subway as the means of regulation.
The article is devoted to the evolution of the perception of their habitat by Japanese.
This paper delves into the production of fashion design during the Late Socialism period in USSR. The paper addresses conditions defining the job of designers in Clothing Design House of the Ural city Perm between 1961 and the end of the 1980s. These conditions include relations of power between designers, vestment factories and retailers, accumulation and usage of the specific fashion capital, and designers’ professional identity. The paper contributes to the existing body of research on Soviet fashion in two ways. First, it introduces the theme of regional clothing design house in the system of Soviet fashion disregarded by the previous researchers. This theme deserves attention because regional clothing design houses played an important role in the mass production of clothes in Soviet regions and in the development of Soviet fashion in general. Second, the paper explores regional Soviet fashion production using two established sociological approach to fashion production: theory of the field of production by P. Bourdieu and the phenomenology of fashion by P. Aspers. As far as we know the current paper is the first case of the implication of these theories for the exploration of Soviet fashion production. As a result, I conclude there is a lot in common between Western and Soviet structures of the field of fashion production, accumulation and usage of a specific professional capital. Soviet designers’ professional identity was shaped by discrepancies between professional norms and the hegemony of Soviet ideology. The rationales for the conclusion are discussed in the paper.