Organized by

Tuesday 21 March, 9h30-16h30
Introduction 9h30

the Seminar Anthropology of Fashion Worlds (IIAC-LAHIC, CNRS-EHESS) &the Transboundary Fashion Seminar 3.2 (Bunka Gakuen University, JSPS)

Dr. Anne Monjaret, Ethnologist, Sociologist, Research Director, IIAC-LAHIC, CNRS,EHESS, President of SEF
Dr. Yoko Takagi, Art Science, Fashion Studies, Professor, Bunka Gakuen
University, JSPS Kaken Grant “Scientific Research on Transboundary
Contemporary Japanese Fashion”
Kristell Blache-Comte, Anthropologist, PhD student, IIAC-LAHIC, CNRS, EHESS,
Photographer
Daphne Mohajer va Pesaran, Designer, Fashion Studies, PhD student, JSPS
Research Fellow, Bunka Gakuen University

OBJECT (10h-12h30), moderator Thierry Bonnot
Ornella K. Pistilli, Political issues in contemporary fashion.
Saskia Thoelen, Cultural Hybridity: a lens to analyze global interactions inJapan’s 19th-20th century fashion scene.
Dr. Leyla Belkaïd-Neri, The Changing Materiality of Fashion: reinterpreting
spanishness in Yves Saint Laurent’s work.
Lunch 12h30-14h
MEDIA (14h-16h30), moderator Lila Neutre
Kristell Blache-Comte, An approach to Japanese fashion photography.
Valérie Jeanne-Perrier, Suzy Menkès: Instagram is her embassy, fashion is her
kingdom. Or when journalism reflects the mutations of fashion languages.
Dr Emanuele Coccia, The End of Culture: fashion and lifestyle.

Wednesday 22 March, 10h-17h30
INTERACTION (10h-12h30), moderator Julia Mensitieri
Dr Michela Niccolai, Nagasaki-Paris Round Trip: Exoticism and cultural transfer
in the interpreters of Madama Butterfly (approximately 1910-1930).
Dr. Kaya Tsujita, Japan - France: A cross-story of fashion.
Clément Trouche, From the Atelier to the street, from elsewhere to build one
here. The birth of Arlesian fashion in the eighteenth century in the Atelier of the
Raspal family.
Lunch 12h30-14h
SOCIETY (14h-16h30), moderator Fabienne Duteil-Ogata
Daphne Mohajer-va-Pesaran, Kamiko: Neo-traditional sustainability.
Yayoi Motohashi, How did people start to dress in Western clothing in Japanafter WWII?:Chiyo Tanaka and Japanese Fashion in the 1950s and 60s.
Dr Marco Pecorari, The MoMu Effect? Some reflections on the representationof fashion in museums.
Conclusion 16h30-17h30

Tuesday 21 March, 10h-12h30
moderator Thierry Bonnot, Anthropologist, Researcher at CNRS, IRIS,ParisOBJECT

Ornella K. Pistilli, Independant Sociologist, Anthropologist
Political issues in contemporary fashion.
Fashion has always been political. As a tool for identity construction anda medium for self-expression, fashion has historically been ground for
non-conventional forms of political participation and cultural criticism.
The point today is that there is more political commentary in fashion
than ever before, broadened to include issues previously considered
private, intimate, or just insignificant. As result, the social conversationof fashion, encouraged by the Internet and social networks, has gone
global, multicultural, trans-generational, and interfaith.
This intersection between fashion, politics, and cultural imagination,raises interesting anthropological questions: How do sartorial choices
encourage discussions about the body policies? How ordinary andapparently banal objects, such as yoga pants, Stan Smith shoes or thescarf, become such powerful and often controversial dress codes? When
does this kind of dress code become a major political issue? The paper
explores some of these controversial fashion objects following thethread of their social conversations, in order to understand what they
are saying about gender, sexuality, status and power, faith.

Saskia Thoelen, Fashion Studies, PhD student, Bunka Gakuen University

Cultural Hybridity: a lens to analyze global interactions in Japan’s 19th-20th
century fashion scene.
In this presentation I will elaborate about how I use the framework of cultural
hybridity in two different case studies to analyze the global interactions behindthe developments within Japan’s fashion scene at the end of the 19th beginning 20th century. One case study will focus on the modernization ofkimono motifs, looking at the role and the influence of the Art Nouveau
movement in this process. The second case study will look at the developmentof department stores in Japan, and how they were globally influenced in thecreation and promotion of trends in fashion.

Dr. Leyla Belkaïd-Neri, Designer, Anthropologist, Director of Fashion Design
Program at Parsons Paris, The New School (New York)The Changing Materiality of Fashion: reinterpreting spanishness in Yves Saint
Laurent’s work.
This paper examines the relationship between the hybrid stylistic and decorative
features of the vernacular dress worn by local women in Oran, the birthplace ofYves Saint Laurent in Algeria where he lived until the age of 18, and some facetsof the Grand Couturier’s work. It adopts an object-centered approach based on
the results of a fieldwork conducted in the Mediterranean city. As a dress thatmediates between various fashion cultures and practices, the Blusa of Oran isneither completely North African, nor clearly French or Spanish. Its material
characteristics and its historical trajectory reflect the Genius Loci of a city
situated across from the Andalusian coast. By extension, they shed new light onSaint Laurent’s narrative and production. The designer’s references to Spain,
traditionally described as a search for exoticism by fashion historians, arediscussed here as a long-term project connected to personal memory andrelated to wider social, cultural and gender issues.

Tuesday 21 March, 14h-16h30
moderator Lila Neutre, PhD student, Ecole Nationale Supérieure de la
Photographie – Université Aix--Marseille, LESA, LAMES, Photographer

MEDIA

Kristell Blache-Comte, Anthropologist, PhD student, IIAC-LAHIC, CNRS,EHESS, Photographer
An approach to Japanese fashion photography.
The image in Japan has always been a strong medium and presents itself
as the privileged witness of a specific culture and aesthetic from thisisland territory whose relations with the outside has always been madeof successive periods of openings and closures. Prints, photography,
film, manga, anime, are examples of this rich visual production. Fashion
photography is another, and has produced original forms for someyears.
This presentation aims to resonate elements of Japanese aesthetics withthat of the West. Using contemporary Japanese fashion photography asa support, it is a question of grasping how this Japanese production
photography will be developed in a context where it will be destined fora Western market and therefore be seen outside Japan. It is a questionof revealing the contact zone, this chiasm, which is the point of
attachment between the two worlds encountered and which links thecreation of an image to its reading. The intervention will focus on theaesthetic and cultural design of the place of the body in space throughthe presentation of various contemporary Japanese photographers.

Valérie Jeanne-Perrier, Sociologist, Teacher-Researcher GRIPIC
Suzy Menkès: Instagram is her embassy, fashion is her kingdom. Or whenjournalism reflects the mutations of fashion languages.
The circuits of the fashion world are international. They are also supported bypowerful institutions, such as couture federations and ministries of industries ofdifferent countries. These institutions are known and they impose standards on
the sector as a whole. The specialized press relays, through journalists known as"rubricards", these institutions and their decisions. They also become visible onsocial networks, such as Instagram, when they organize official evenings withaward ceremonies. They are however competing in their ways of thinking andstructuring the global relations between the powers of fashion, by journalists

who have grasped the communication potential of social networking platforms.
The example of Suzy Menkès, who was in charge of the fashion section of theInternational Herald Tribune, and later at the International New York Times in
Paris, shows this trend. The media and journalistic work around the fashion of
Suzy Menkès, now a journalist for the Hearst group, will be analyzed through asemiological approach of her profiles on social networks. The metaphors of theembassy and the kingdom will be used. These terms refer to links of exchanges
and negotiations based on rites of languages and accreditations in order toestablish relations always moving between powers. Among them, journalists
themselves try to play a leading role, relying on the dynamics enabled by the
global implementation of certain communication tools, which have acquired thestatus of global media.
Dr Emanuele Coccia, Philosopher, Historian, Associate Professor, CEHTA-EHESSThe End of Culture: fashion and lifestyle.
From the 1970s, with the end of the rigid distinction between haute couture andready-to-wear, fashion ceased to be the mere organ of reproduction of social
distinctions and became the organ and laboratory for the production of newsocial identities, which no longer coincided with the class, nor with income,ethnic, or religious identity. These identities, which from the Birmingham School
are called subcultures, have gradually replaced and eliminated the traditional'culture'. In a subcultural space, in fact, identity is always chosen consciously andvoluntarily and not inherited a priori; It is ephemeral and non-essential - thus
incapable of prolonging itself for more than one generation and of beingtransmitted (to be thus confused with the rhythm of the natural and thebiological); It is local and shared in limited measure, without any pretension to
universality; And it is, finally, objective rather than subjective, capable ofexisting more in things than in consciences, opinions, ideologies.

Wednesday 22 March, 10h-12h30
moderator Julia Mensitieri, Anthropologist, IIAC-LAUM, CNRS, EHESSINTERACTION

Dr Michela Niccolai, Musicologist, BHVP-ART, Association de la Régie
théâtrale, Paris – scientific collaborator, Université libre de Bruxelles
Nagasaki-Paris Round Trip: Exoticism and cultural transfer in theinterpreters of Madama Butterfly of Puccini (app. 1910-1930).
If the creation of Madama Butterfly took place in Milan in 1904, it is theversion of the score that is essential to the Opéra-Comique of Paris two
years later and that set the model (dramatic, musical and scenic) of the
future replays of the Puccinian drama. We focus here on a few examples
of interpreters who have marked the European imagination from theParisian production (1906): Marguerite Carré, Jovita Fuentes, Tamaki
Miura and Teiko Kiwa. The role of Butterfly has marked forever theevolution of the career of these artists, raising today a series ofquestions around the exoticism, considered essentially in the senseof “the other from the self" (Locke). Thus, this Japanese character ispresented on stage first with the appearance of a "disguised" Parisian(Carré ), then of a Filipino artist (Fuentes) and finally of two Japanese
singers (Miura and Kiwa) whose impact in Europe and Japan is stilllargely to be discovered.

Dr. Kaya Tsujita, Fashion Historian and Fashion professional
Japan - France: A cross-story of fashion.
If the 1960s are a period in which the seeds of ‘fashion' are sown on thesoil of Japan, they germinate during the 1970s. Flowers bloom during
the 1980s: the story of the sensational impact on the Parisian scene ofcreators is well known. As soon as Dior arrived, French fashion reigned
in Japan. All the industries, upstream as well as downstream, takeadvantage of the prestige of the Parisian fashion houses. However,gradually the new generation turns away from the influx of licensed
products and is attracted to young Japanese creators. From then on, the"DC Brand" boom was born.

Some of them try their luck in Paris and arrive to spread abroad. Today, theirartistic talents but also their strategies are marked by their imprint ofcontemporary fashion.

Clément Trouche, MA Modern and Contemporary Art, Aix-Marseille Université,
co-founder of the Centre des Collectionneurs d'Histoire de Mode (CCHMode)
From the Atelier to the street, from elsewhere to build one here. The birth ofArlesian fashion in the eighteenth century in the Atelier of the Raspal family.
In the study of the history of the costume of Arles but also more generally ofProvence, the Mediterranean or Europe, the works of the Arles painter Antoine
Raspal (1738-1811), appear as reliable testimonies of the use of textiles in the
fashion of the eighteenth century. A true jack-of-all-trades, he excelled in the artof detail, the representation of materials and motifs. He drew his inspirationfrom the Atelier des Demoiselles Raspal called "du Sauvage", directed by his
sisters. Heir of a line of sculptors and goldsmiths, it is with skill and accurate
gestures that he copied the outfits created by his sisters. Antoine Raspal seems
to live at the heart of this workshop, favoring the creative emotion of a family
for whom the fashion and its representation are language.
Indeed, in the detailed analysis of the portraits of Arlésiennes by Antoine Raspal,
it is possible to give with a photographic precision the list of elements that makeup each silhouette and rare are those of local provenance. These outfits at theforefront of Arles fashion are true mosaics of textiles and influences.

Wednesday 22 March, 14h-16h30
moderator Fabienne Duteil-Ogata, Ethnologist, Lecturer, Département
de langue et civilisation japonaises, Université Bordeaux-Montaigne,
CLARE

SOCIETY

Daphne Mohajer-va-Pesaran, Designer, Fashion Studies, PhD student,
JSPS Research Fellow, Bunka Gakuen University
Kamiko: Neo-traditional sustainability.
Kamiko, also called Kamigoromo, is a Japanese word that refers to any
article of clothing made of a kneaded and treated sheet of Japanese
paper. This communication investigates a traditional type of material,
paper, that was commonly used to make clothing, among othereveryday items. The fashion and textile industries are deeply linked toevery aspect of our lives. These industries have a massive impact on
both people the environment – this impact can be benign, but is widely
characterized as being negative and their practices in need of reform.
Sustainability and ethics have been identified as two vital perspectivesof dissemination in both scholarly work and in practical application in avast number of fields of research and industry. “Sustainability” in thecontext of fashion refers to a body of research and collection of diverse
approaches. The research described in this communication argues that
long-standing multigenerational practices and materials flows involvedin papermaking in Japan can be seen as one model for emergent
mechanisms in fashion consumption, which are shifting towards
multitudinous sustainabilities.

Yayoi Motohashi, Curator, The National Art
Anthropologist, PhD student, Hitotsubashi University

Center,Tokyo,How did people start to dress in Western clothing in Japan after
WWII?: Chiyo Tanaka and Japanese Fashion in the 1950s and 1960s.
In Japan, people started to dress in Western style clothing in everyday life only
after 1945. How was it possible that the great designers (Miyake, Yamamoto,Kawakubo, etc.), who can change the world history of fashion appeared only
after twenty years of wearing Western style clothing? In this presentation, I
would like to examine what has actually been happening in Japan in the 1950s
and 1960 in regard to fashion history focusing on Chiyo Tanaka (1906-1999) who
was one of the first and most prominent fashion designers in Japan as well as agreat educator in clothes making. Tanaka was the designer at Kanebo andHankyu department store as well as for Empress Kojun, and brought ChristianDior’s patterns to Japan in the 1950s. At the same time, she opened many
schools to teach clothes making; many women graduated from her schools. By
investigating Tanaka’s path, who recently is forgotten but remains a very
important and influential figure in Japanese fashion, I would like to reveal the
relationship between fashion and society in the 1950s and 1960s in Japan.

Dr Marco Pecorari, Director of MA Fashion Studies at Parsons Paris, The New
School (New York)
The MoMu Effect? Some reflections on the representation of fashion inmuseums
The entrance of fashion in the museum was not through the main door. Despite
the great number of institutions now focusing their energies on fashion, as wellas the recent proliferation of fashion exhibitions in diverse types of museums,
fashion was not initially considered as a phenomenon worthy to be collected
and exhibited per se. While such a condition will be slowly overcome after WWII
with the institution of dress museums and galleries of costumes, thismuseological heritage still reverberates today as may be glimpsed by difficulties
that attend the task of highlighting the ontology of the fashion museum—a taskthat perhaps raises more questions than it answers, including: What are thespecificities of a fashion museum? Which practices of collecting, conserving,
studying and exhibiting fashion should be employed in fashion museums? Whatdiscourses of fashion are represented in museums?
This communication will begin to answer to these questions, looking at someseminal cases of exhibitions and museums throughout the XX and XXI century. In
particular, it will discuss the case of the Fashion Museum of the Province ofAntwerp (MoMu). Since its inception, the museum has tried to push the
ontology and the boundaries of the fashion museum through provocative andinnovative museological policies. This practice has, on the one hand, guaranteeda unique understanding of the industry, its practices and its materials; and, on
the other hand, it has brought to the fore criticalities in the representation of
fashion in museums.

Conclusion 16h30-17h30